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ISffilRIGHT DEPOSIT 



XXth CENTURY SHAKESPEARE 



HAMLET 



By WILLIAM SHAKESPEARE 



Edited with an Introduction and Notes 



BY CYRUS LAURON HOOPER 

Of the North-West Division High School, 
Chicago 






Chicago: 

AINSWORTH &- COMPANY 

1902 






THf LifSRAPtY OF 
Twc Copies KcCErvEP 

JAN. 14 1902 

«t^A . (o . > <^ o 5- 
COKY 3. 



Copyright, 1902 
By C. L. HOOPER 



;.? 



NOTE. 

The plan and the purpose of the Twentieth Century Shakespeare 
have been briefly stated in "Julius Csesar," the first of the series. 
Such changes as the present play requires have been made: the account 
of Shakespeare's theater and his people is omitted, and an explanation 
of the fate theme in "Hamlet" is given instead of the information on 
Roman life. To this is added a few words about the meter. As in 
" Julius C/ESAR," the text of the Clarendon Press edition has been used; 
but, owing to the difference in the size of the type, it has been found 
impossible to follow the numbering of the lines in the scenes in which 
prose occurs. 

In the preparation of notes, frequent reference has been made to 
Furness's " Variorum Shakespeare ; " also to Rolfe's and to the Claren- 
don Press (Clark and Wright) edition ; and the obligation is hereby 
acknowledged. 



" HAMLET " A WORLD TYPE. 

4 

Of all the plays of Shakespeare, "Hamlet" appiHtls most widely 
to human experience; voices most truthfully the woes of men who must 
act and dare not. Few of us are Macbeths; few woif!^ kill the king 
to gain his robe and crown; but many have felt the knotted scourge of 
Duty upon their backs, and have seen Dread in the gloom before them, 
daring them onward — have felt their lives to be guided, in spite of 
their struggles, by some force out of sight and beyond control. Rare 
indeed are the men with the firmness of resolve, the steadiness of nerve, 
the confidence in the strength of their purposes to challenge Fate to the 
uttermost, to seem even to shape their own destinies. These are the 
heroic minority. Most of us prefer the pleached garden, with herbs and 
apples; or, perhaps, the jug of wine, the easily earned loaf and the 
enticing singer, to the hot, determined struggle across the desert, the 
toilsome cleavage of the brier-choked wilderness, or the fight that must 
be fought. Leave the twelve labors to Hercules; we are partial to 
peace, with no loss of mirth. The hard duty that confronts us, we put 
off till a more opportune to-morrow; we dawdle, temporize, debate; we 
watch our wills stagger; we rival the "poor cat i' the adage ; " and, 
attributing all to worthy motives, we rather admire ourselves for praise- 
worthy forbearance. Thus we fall for a time into self-deception, skil- 
fully parrying the thrusts of our own consciences ; until at last all 
occasions begin to inform against us, to shame us, and we are driven to 
the fight by the incessant scourge — the fight whose result is determined 
neither by our wills nor our desires, but by a blind, all-compelling Fate. 
So, in "Hamlet " we read our own histories. 

Doubtless it was Shakespeare's history, too. Sad, indeed, that we 
have been denied the life story of the greatest of poets ! If we could 
but know his boyhood, the dreams he dreamed on the shores of the 
Avon and in the paths about Stratford and Shottery; if we could know 
what shattering of dreams he experienced, and what consciousness of 
weakness he felt as a mature man, in spite of his success in his despised 
profession, what duties urged him forward, what fears waved him back, 
what resistance he felt from the Invisible Hand, we should better under- 



vi '' HAMLET'' A WORLD TYPE. 

stand his kinship to ourselves and to his greatest creation; probably 
we should see that under the guise of an unhappy prince, the poet has 
written his own life — and ours. 

"Hamlet" is an expression of life lived under the compulsion of 
unfit inner conditions and heavy outer circumstances — Fate: not the 
old mythical goddesses of destiny that played on Macbeth's ambition, 
and lured him on to a life of terror and a death of ignominy; not the 
mobled weird women who looked unerringly into the seeds of time, and 
knew what grain would grow and what would not ; but the modern Fate, 
bereft of all pagan superstition, the inevitable resultant of forces 
unknown and immeasurable. Not that we would pronounce this mod- 
ern Fate more or less forceful than that of our wise forefathers, who, 
in spite of their ignorance, knew everything ; we contend merely a 
change in the point of view, a removal of the symbol: the fact remains 
that our destiny is indeterminate and uncontrollable. 

The inner factor of Hamlet's Fate was his refinement and his learn- 
ing. Every utterance reveals the student. He knew the schools; had 
read the classics of the old world; had wasted long nights on the phi- 
losophers; doubtless had made philosophies of his own. His studies 
had made their imprint indelibly upon him; he could not speak without 
betraying the trained thinker, even to the trained thinker's foibles — the 
little impertinent elaborations of thought and the too complicated 
utterance: 

" For every man hath business and desire, 
Such as it is, ' ' 

is his analytic comment on his command to Marcellus and Horatio after 
telling them to go about their own affairs, and leave him and the ghost 
to theirs ; and how tortuous, yet how certain in aim, his account of cer- 
tain men taking corruption from some " vicious mole of nature in them ! " 
To his searching keenness of intellect was added a refinement of feeling, 
a sensitiveness to every emotional motif, a responsiveness to every vibra- 
tion of that myriad-toned harp, the human soul — all a result wrought 
by the world's greatest thinkers upon a nature superfine by birth. 

Unfit preparation, this scholar's life, for the duty to which Hamlet 
was prompted by Heaven and Hell ! He who would use sword and 
dagger must be trained to sword and dagger. Plato and Aristotle give 
little inspiration for the shedding of blood. Yet it fell to Hamlet to 



HAMLET. vii 

meet and overcome, even by his own death, this disproportion between 
training and action. Is it strange that his foot was often on the threshold 
of the deed before unfaltering necessity drove him across it? Is it 
strange that his tragic story moves as slowly as Macbeth's moves fast? 
So goes the life of him who must act, and dare not. 

This, then, is Hamlet's tragedy: being trained to think and to feel, 
he was compelled to do; his intellect and his sensibility so overtopped 
his will that whenever the moment of action seemed near, his entire 
vital energy was consumed in thought and feeling, and his hand hung 
palsied by his side. Thus his course of life was the resultant of two 
antagonistic forces, the unfit inner condition and the hard outward cir- 
cumstance. A necessary resultant, too; unavoidable; predestined in the 
nature of things, and personified in every religion in some form or other. 
The wisdom of the Greeks recognized this necessity, and gave it a 
triple personality in the Moirse, or Fates — Clotho, Lachesis, and 
Atropos, ' the blind furies with the abhorred shears, ' who ' clip the 
thin-spun life. ' Our northern forefathers, as wise as the Greeks, and as 
much awed by that "divinity that shapes our ends," had their Norns — 
Urd, Verdandi, and Skuld, weavers of the web of Fate. And what 
better name than Fate have we in these modern literal times ? 

Called from school at Wittenberg to seek for his noble father in the 
dust, Hamlet soon had other reason for his inky cloak than the death 
of his father — • the frailty of a woman, and that woman his mother. 
Then the ghost of the dead king appeared, and laid upon the book- 
trained prince the task of a dagger stroke. Under the stress of the 
occasion, the young man's will bounded into a feverish fit of strength; 
his resolution was made on the instant, and duly inscribed in the most 
scholarly fashion on his tablets. The irony of it! Before the ghost's 
sepulchral voice had ceased to urge the oath from beneath the platform, 
Hamlet intuitively provided for his prolonged lapse in time and passion: 
he would "put an antic disposition on" ! His vivid imagination had 
no doubt begun already to picture the touch of pointed steel on white, 
flinching flesh, the flowing of red blood, and the roll of dying eyes. 
He could not sweep to his revenge ; his task was too great ; with incipient 
despair he cursed it. 

But the curse availed nothing; his oath was branded on his brain. 
And occasions began to inform against him : the player, " in a dream of 
passion," shamed him. 



viii '^ HAMLET'' A WORLD TYPE. 

" WhaVs Hecuba to him, or he to Hecuba ? " 
And no sooner had he pronounced himself "pigeon-liver'd " than he 
persuaded himself into further delay by the specious argument that the 
ghost might have been the devil plotting to damn him; he would have 
grounds more relative than the word of the unquiet spirit. 

"What do you call the play?" — "The mouse-trap. Marry, how? 
Tropically." And tropically was the king caught in it. When his 
occulted guilt was so palpably unkenneled, what Nemesis overtook him 
other than an accusing finger shaken in his face and a burst of mad 
laughter? Had Hamlet no dagger? Had not his fingers the strength 
to throttle? No action here neither; only wild and whirling words — a 
riming jingle or two; an assertion of a thousand pounds of confidence 
in the ghost's word, but not a thousandth part of an appropriate deed; 
a hysterical call for music ; a little serious fooling about playing on a 
pipe (this for the recovery of self-respect); a few insults to the decrepit 
Polonius — and all this, not "an antic disposition," but the utterance 
of an emotion too frenzied to be pent up or to be directed into the 
straight channel of action. Hamlet's assumed madness was for less 
trying moments than this. Here there was a lack of self-control, an 
utter paralysis of will, which, if it be madness at all, was Hamlet's only 
madness; and if it be not, then it remains to define the dread malady. 
No one has spoken more wisely than Polonius: 

" For, to define true madness. 
What is' t but to be nothing else but mad? " 

But let that go. The end of the scene, with its bold words from an 
unfirm heart, is characteristic; a resolution to do nothing more terrible 
than to inflict unmanly torture upon an erring mother. 

Hamlet recovered his self-possession here, but did not have the 
strength to drink hot blood and to appall the light of day with the 
bitterness of his revenge. Standing with drawn sword behind the kneel- 
ing king, he quibbled to avoid the deed from which his sick soul 
revolted; gave himself a trifling excuse, and waited for an opportunity 
more "pat." Nor did the ghost, who appeared while the young prince 
stung his mother's conscience, drive him to further resolution than to 
delve one yard below the mines of his treacherous school-fellows and 
blow them at the moon. This and the death of the harmless old coun- 
sellor, Ophelia's father, was all the irresolute scholar had caught in his 



HAMLET. ix 

mouse-trap; for yet another opportunity for vengeance was passed by. 
Seeing well the cherub that saw the king's purposes in sending him to 
England, he did nothing but jest about us poor brothers of Polonius 
who fat ourselves for maggots. The pity of it all was that Hamlet 
knew his own weakness, and despised himself therefor ; not a clod, but 
a scholar, he read his own soul, to which he found Fortinbras and his 
two thousand soldiers a bitter contrast. Their motive for courting 
death was a mere "fantasy and trick of fame;" his for inflicting it, "a 
father kill'd, a mother stain'd;" yet the occasion did not spur his dull 
revenge, but only awakened his introspection. 

' ' Now, whether it be 
Bestial oblivion, or some craven scruple 
Of thinking too precisely on the event, 
A thought which, quartered, liath but one part wisdom 
And ever three parts coward, I do not know 
Why yet I live to say, • This thing's to do; ' 
Sith I have cause and will and strength and means 
To do'tr 

Here was the lowest point to which Hamlet's manhood sunk — to 
know his disease, to have the remedy, and to be unable to use it. 

Does it raise Hamlet from this depth to a heroic height in our minds 
to know that his restoring motive was a selfish one? that the villainy of 
the king in sending him to his death in England and his defeat of that 
plan were the circumstances that steadied his nerve, made his bosom 
firm, and rendered possible that calmness and self-command with which 
he said to Horatio, " The interim is mine" ? Even in the end, when 
the king lies dead before us, do we not feel that our hero is no hero, 
but a toy of Fate, and one whose surpassing wisdom had led him to 
defy augury ? 

The final scene approaches. Returning from his captivity among 
the pirates, Hamlet meets Horatio, and in the graveyard jests with the 
clown over the pit that is to contain one that was a woman, but is now 
no more — the woman he loved best; sent to her grave by his own hasty, 
inconsiderate act. The compulsion of circumstances is almost complete; 
however weak Hamlet has been before, now he is calm enough; he feels 
the finite fading from about him, and the Infinite brooding over him; 



X ''HAMLET'' A WORLD TYPE. 

"if it be now, ' tis not to come . . . the readiness is all." We can- 
not believe that in these last moments Hamlet is so ignoble as to deceive 
Laertes by the insincere lines about his own madness ; surely some other 
hand than that of the great poet wrote most of the speech beginning, 
"Give me your pardon, sir;" the first two lines and the last five do 
much to redeem the manhood of the prince; the rest make him craven. 
Let us cast them out. 

The final moment has come. We have at last what we desire — the 
blood of the murderer ; and if we are saddened by the sacrifice of 
Hamlet himself, let it be considered that only by such a martyrdom can 
he be raised in our esteem for so long delaying the execution of the 
ghost's dread command. "The rest is silence." 

Those thinkers are not wanting who say there is another factor than 
the inner condition and the outward circumstance in the determination 
of our march into the fog called life. Effort, say they. But whence 
the effort? It is merely the act of the will, and is from within; a part 
of the inner condition. Given, a certain mind and a certain world 
about it, and but one life is possible. Given, a certain weight and 
speed of arrow, a certain force of wind, and a certain degree of deflec- 
tion or retardation is inevitable. The indeterminateness of it all is 
what ancient peoples personified in such deities as the Moirse and the 
Norns — Fate; for which we have no better name. 

And this story of Hamlet is older than civilization; perhaps as old 
as life itself. The study of myths has revealed their unfathomable 
antiquity; in the days when man's imagination took its first flights, he 
made stories concerning the phenomena of nature — the rising and the 
setting of the sun, the coming and the going of summer, the flashing of 
the northern lights ; — stories which in time were told as if the actors in 
them were men and women, the former significance being forgotten. 
So it was, probably, with " Hamlet ; " originally a sun-myth, typifying 
the struggle between summer and winter ; finally a story of a human 
life, put in its first literary form by Saxo Grammaticus, and in its last 
and greatest by Shakespeare, v.ho, knowing nothing of its origin, saw 
in it the essentials of an experience common to the lot of man. 



METER. 

Students who are especially interested in Shakespeare's meter and 
the development of it, will find a good summing up of the matter in 
Professor Dowden's "Shakespeare" primer, from which a few facts 
are given here. 

The chronology of the plays is determined partly by the number of 
"end-stopt" and "run-on" verses, "weak endings" and "double (or 
feminine) endings." 

The early plays have many lines with pauses at the end; these are 
"end-stopt " verses. As his genius ripened, the poet formed the habit 
of running the sense on from one line to another, thus securing greater 
ease and avoiding any suggestion of monotony; hence the term, " run- 
on ' ' verses. 

There is a variation, too, in the number of monosyllabic "weak 
endings" of lines, of which two degrees have been noticed. The first 
group contains such words as the voice can dwell on to a small extent, 
as "<7W, are, he, can, could; the auxiliaries do, does, has, had; I, they, 
thoji, and others." These are called "light endings." The other 
group includes "such words as a7id, for, from, if, in, of, or.'' These 
are called " weak endings." The voice cannot dwell upon them, but is 
compelled to run them on rapidly with the next line. Weak endings 
hardly appear in the earlj and middle plays; the poet seems to have 
adopted the new method very suddenly. Many " light endings " appear 
in " Macbeth." 

When the line has an extra, unaccented syllable at the end, the final 
one of a word of more than one syllable, it is said to have a "double 
(or feminine) ending." The following line affords an illustration: 

" The ver \ y place \ puts toys \ of des \ per a \ tion.'' 
Shakespeare seems to have used the "double ending" more as he 
grew older. 

It is an interesting exercise to compare a few scenes of the plays you 
have read with a few from "Hamlet" in order to learn how much 
these verse tests avail in the determination of the order in v.hich the 
plays were written. 



HAMLET, 

PRINCE OF DENMARK. 



DRAMATIS PERSONyE. 



Claudius, king of Denmark. 

Hamlet, son to the late, and nephew to 

the present, king. 
PoLONius, lord chamberlain. 
Horatio, friend to Hamlet. 
Laertes, son to Polonius. 
voltimand, ■] 
Cornelius, 
rosencrantz, i 
GuiLDENSTKRN, [ courtiers. 

OSRIC, 

A Gentleman, j 
A Priest. 
Marcellus, I 
Bernardo, f 
Francisco, a soldier, 



officers. 



Revnaldo, a servant to Polonius. 

Players. 

Two Clowns, grave-diggers. 

Fortinbras, prince of Norway. 

A Captain. 

English Ambassadors. 

Gertrude, queen of Denmark, and 

mother to Hamlet. 
Ophelia, daughter to Polonius. 

Lords, Ladies, Officers, Soldiers, 
Sailors, Messengers, and other 
Attendants. 

Ghost of Hamlet's Father. 

Scene : Denmark. 



ACT I. 

Scene I. Elsinore. A platform before the castle. 

Francisco at his post. Enter to him Bernardo. 

Ber. Who's there .'* 

Fran. Nay, answer me: stand, and unfold yourself. 
Ber. Long live the king ! 
Frail. Bernardo ? 
Ber. He. 

Fran. You come most carefully upon your hour. 
Ber. ' Tis now struck twelve ; get thee to bed, 
Francisco. 



2 HAMLET. 

Frail. For this relief much thanks : ' tis bitter cold, 
And I am sick at heart. 

Ber. Have you had quiet guard ? 

Fran. Not a mouse stirring. 

Ber. Well, good night, u 

If you do meet Horatio and Marcellus, 
The rivals of my watch, bid them make haste. 

Fran. I think I hear them. Stand, ho ! Who is 
there .? 

Enter Horatio and Marcellus. 

Hor. Friends to this ground. 

Mar. And liegemen to the Dane. 

Fran. Give you good night. 

Mar. O, farewell, honest soldier : 

Who hath relieved you .-' 

Fran. Bernardo hath my place. 

Give you good night. \Exit. 

Mar. Holla ! Bernardo ! 

Ber. Say, 

What, is Horatio there } 

Hor. A piece of him. 

Ber. Welcome, Horatio : welcome, good Marcel- 
lus. 20 

Mar. What, has this thing appear'd again to-night.'* 

Ber. I have seen nothing. 

Mar. Horatio says ' tis but our fantasy, 
And will not let belief take hold of him 
Touching this dreaded sight, twice seen of us: 
Therefore I have entreated him along 



ACT I. SCENE I. 3 

With us to watch the minutes of this night, 

That if again this apparition come, 

He may approve our eyes and speak to it. 

Hor. Tush, tush, ' twill not appear. 

Ber. Sit down awhile ; 

And let us once again assail your ears, 3t 

That are so fortified against our story, 
What we have two nights seen. 

Hor. Well, sit we down. 

And let us hear Bernardo speak of this. 

Be}-. Last night of all, 
When yond same star that's westward from the pole 
Had made his course to illume that part of heaven 
Where now it burns, Marcellus and myself, 
The bell then beating one, — 

Enter Ghost. 

Mar. Peace, break thee off ; look, where it comes 
again ! 

Ber. In the same figure, like the king that's dead. 41 

Mar. Thou art a scholar ; speak to it, Horatio. 

Ber. Looks it not like the king 1 mark it, Horatio. 

Hor. Most like: it harrows me with fear and wonder. 

Ber. It would be spoke to. 

Mar. Question it, Horatio. 

Hor. What art thou, that usurp'st this time of night, 
Together with that fair and warlike form 
In which the majesty of buried Denmark 
Did sometimes march ">. by heaven I charge thee, speak ! 

Mar. It is offended. 



4 HAMLET. 

Ber. See, it stalks away ! 50 

Hor. Stay ! speak, speak ! I charge thee, speak ! 

\Exit Ghost. 

Mar. ' Tis gone and will not answer. 

Bcr. How now, Horatio ! you tremble and look pale : 
Is not this something more than fantasy ? 
What think you on't ? 

Hor. Before my God, I might not this believe 
Without the sensible and true avouch 
Of mine own eyes. 

Mar. Is it not like the king ? 

Hor. As thou art to thyself : 
Such was the very armor he had on 60 

When he the ambitious Norway combated ; 
So frown'd he once, when, m an angry parle, 
He smote the sledded Polacks on the ice. 
' Tis strange. 

Mar. Thus twice before, and jump at this dead 
hour, 
With martial stalk hath he gone by our watch. 

Hor. In what particular thought to work I know not; 
But, in the gross and scope of my opinion, 
This bodes some strange eruption to our state. 

Mar. Good now, sit down, and tell me, he that 
knows, 
Why this same strict and most observant watch 71 
So nightly toils the subject of the land, 
And why such daily cast of brazen cannon. 
And foreign mart for implements of war ; 



ACT I. SCENE I. 



5 



Why such impress of shipwrights, whose sore task 
Does not divide the Sunday from the week ; 
What might be toward, that this sweaty haste 
Doth make the night joint-laborer with the day : 
Who is' t that can inform me ? 

Hor. That can I ; 

At least the whisper goes so. Our last king, so 

Whose image even but now appear'd to us, 
Was, as you know, by Fortinbras of Norway, 
Thereto prick'd on by a most emulate pride. 
Dared to the combat ; in which our valiant Hamlet — 
For so this side of our known world esteem'd him — 
Did slay this Fortinbras ; who, by a seal'd compact. 
Well ratified by law and heraldry, 
Did forfeit, with his life, all those his lands 
Which he stood seized of, to the conqueror : 
Against the which, a moiety competent go 

Was gaged by our king ; which had return'd 
To the inheritance of Fortinbras, 
Had he been vanquisher ; as, by the same covenant 
And carriage of the article design 'd, 
His fell to Hamlet. Now, sir, young Fortinbras, 
Of unimproved mettle hot and full. 
Hath in the skirts of Norway here and there 
Shark'd up a list of lawless resolutes. 
For food and diet, to some enterprise 
That hath a stomach in't : which is no other — loo 
As it doth well appear unto our state — - 
But to recover of us, by strong hand 



6 HAMLET. 

And terms compulsatory, those foresaid lands 

So by his father lost : and this, I take it, 

Is the main motive of our preparations, 

The source of this our watch and the chief head 

Of this post-haste and romage in the land. 

Ber. I think it be no other but e'en so : 
Well may it sort, that this portentous figure 
Comes armed through our watch ; so like the king no 
That was and is the question of these wars. 

Hor. A mote it is to trouble the mind's eye. 
In the most high and palmy state of Rome, 
A little ere the mightiest Julius fell. 
The graves stood tenantless and the sheeted dead 
Did squeak and gibber in the Roman streets: 
As stars with trains of fire and dews of blood. 
Disasters in the sun : and the moist star 
Upon whose influence Neptune's empire stands 
Was sick almost to doomsday with eclipse: 120 

And even the like precurse of fierce events. 
As harbingers preceding still the fates 
And prologue to the omen coming on. 
Have heaven and earth together demonstrated 
Unto our climatures and countrymen. 

Re-enter Ghost. 

But soft, behold ! lo, where it comes again ! 
I '11 cross it, though it blast me. Stay, illusion ! 
If thou hast any sound, or use of voice, 
Speak to me: 



ACT L SCENE I. 7 

If there be any good thing to be done, '3° 

That niay to thee do ease and grace to me, 
Speak to me: "- 

If thou art privy to thy country's fate, 
Which, happily, foreknowing may avoid, 
O, speak ! 

Or if thou hast uphoarded in thy Hfe 
Extorted treasure in the womb of earth, 
For v/hich, they say, you spirits oft walk in death. 
Speak of it : stay, and speak ! [^Cock crozvs.] Stop it, 
Marcellus. 

Mar. Shall I strike at it with my partisan ? 14° 

Hor. Do, if it will not stand. 

Ber. ' Tis here ! 

Bor. ' Tis here ! 

Afar. ' Tis gone ! [Exit GJiost. 

We do it wrong, being so majestical, 
To offer it the show of violence ; 
For it is, as the air, invulnerable. 
And our vain blows malicious mockery. 

Ber. It was about to speak, when the cock crew. 

Hor. And then it started like a guilty thing 
Upon a fearful summons. I have heard. 
The cock, that is the trumpet to the morn, iso 

Doth with his lofty and shrill-sounding throat 
Awake the god of day ; and at his warning. 
Whether in sea or fire, in earth or air. 
The extravagant and erring spirit hies 
To his confine: and of the truth herein 



8 HAMLET. 

This present object made probation. 

Mar. It faded on the crowing of the cock. 
Some say that ever 'gainst that season comes 
Wherein our Savior's birth is celebrated, 
The bird of dawning singeth all night long : iSo 

And then, they say, no spirit dare stir abroad, 
The nights are wholesome, then no planets strike, 
No fairy takes nor witch hath power to charm. 
So hallow'd and so gracious is the time. 

Hor. So have I heard and do in part believe it. 
But, look, the morn, in russet mantle clad. 
Walks o'er the dew of yon high eastward hill: 
Break we our watch up ; and by my advice, 
Let us impart what we have seen to-night 
Unto young Hamlet; for, upon my life, 170 

This spirit, dumb to us, will speak to him: 
Do you consent we shall acquaint him with it. 
As needful in our loves, fitting our duty.-* 

Mar. Let's do't I pray; and I this morning know 
Where we shall find him most conveniently. {Exeunt. 

Scene II. A room of state in the castle. 

Enter Mr King, Queen, Hamlet, Polonius, Laertes, 

VoLTiMAND, Cornelius, Lords, and Attendants. 

King. Though yet of Hamlet our dear brother's death 
The memory be green, and that it us befitted 
To bear our hearts in grief and our whole kingdom 
To be contracted in one brow^of woe. 
Yet so far hath discretion fought with nature 



ACT I. SCENE II. 

That we with wisest sorrow think on him, 
Together with remembrance of ourselves. 
Therefore our sometime sister, now our queen, 
The imperial jointress to this warlike state, 
Have we, as 'twere with a defeated joy, — 
With an auspicious and a dropping eye. 
With mirth in funeral and with dirge in marriage, 
In equal scale weighing delight and dole, — 
Taken to wife: nor have we herein barr'd 
Your better wisdoms, which have freely gone 
With this affair along. For all, our thanks. 
Now follows, that you know, young Fortinbras, 
Holding a weak supposal of our worth. 
Or thinking by our late dear brother's death 
Our state to be disjoint and out of frame, 
Colleagued with the dream of his advantage. 
He hath not fail'd to pester us with message. 
Importing the surrender of those lands 
Lost by his father, with all bonds of law. 
To our most valiant brother. So much for him. 
Now for ourself and for this time of meeting : 
Thus much the business is : we have here writ 
To Norway, uncle of young Fortinbras, — 
Who, impotent and bed-rid, scarcely hears 
Of this his nephew's purpose, — to suppress 
His further gait herein; in that the levies, 
The lists and full proportions, are all made 
Out of his subject: and we here dispatch 
You, good Cornelius, and you, Voltimand, 



lO HAMLET. 

For bearers of this greeting to old Norway; 

Giving to you no further personal power 

To business with the king more than the scope 

Of these del2,teci articles allow. 

Farewell, and let your haste commend your duty. 

^^' i In that and all things will we show our duty. 

King, We doubt it nothing : heartily farewell. 41 

[Exeunt Voltimand and Cornelius. 

And now, Laertes, what's the news with you .'' 

You told us of some suit; what is't, Laertes } 

You cannot speak of reason to the Dane, 

And lose your voice: what wouldst thou beg, Laertes, 

That shall not be my offer, not thy asking } 

The head is not more native to the heart, 

The hand more instrumental to the mouth, 

Than is the throne of Denmark to thy father. 

What wouldst thou have, Laertes 1 

Laer. My dread lord, 50 

Your leave and favor to return to France; 
From whence though willingly I came to Denmark, 
To show my duty in your coronation. 
Yet now, I must confess, that duty done. 
My thoughts and wishes bend again toward France, 
And bow them to your gracious leave and pardon. 

King. Have you your father's leave.'* What says 
Polonius .'' 

Pol. He hath, my lord, wrung from me my slow 
leave 



ACT I. SCENE 11. II 

By laborsome petition, and at last 

Upon his will I seal'd my hard consent: 60 

I do beseech you, give him leave to go. 

King. Take Jhy fair_hour, Laertes; time be thine, 
And thy best graces spend it at thy will ! 
But now, my cousin Hamlet, and my son, — 

Ham. [Aside] A little more than kin, and less than 
kind. 

Kitig. How is it that the clouds still hang on you ? 

Ham. Not so, my lord: I am too much i' the sun. 

Queen. Good Hamlet, cast thy nighted jcolor off. 
And let thine eye look like a friend on Denmark. 
Do not for ever with thy vailed lids 70 

Seek for thy noble father in the dust : 
Thou know'st 'tis common; all that lives must die. 
Passing through nature to eternity. 

Ham. Ay, madam, it is common. 

Queen. If it be, 

Why seems it so particular with thee .'* 

Hain. Seems, madam ! nay, it is ; I know not 
' seems.' 
'Tis not alone my inky cloak, good mother. 
Nor customary suits of solemn black. 
Nor windy suspiration of forced breath. 
No, nor the fruitful river in the eye, 80 

Nor the dejected havior of the visage. 
Together with all forms, moods, shapes of grief. 
That can denote me truly: these indeed seem, 
For they are actions that a man might play: 



1 3 HAMLET. 

But I have that within which passeth show; 
These but the trappings and the suits of woe. 

King. 'Tis sweet and commendable in your nature, 
Hamlet, 
To give these mourning duties to your father : 
But, you must know, your father lost a father. 
That father lost, lost his, and the survivor bound 90 
In filial obligation for some term 
To do obsequious sorrow : but to persever 
In obstinate condolement is a course 
Of impious stubbornness ; 'tis unmanly grief : 
It shows a will most incQ£rect to heaven, 
A heart unfortified, a mind impatient. 
An understanding simple and unschool'd : 
For what we know must be and is as common 
As any the most vulgar thing to sense, 
Why should we in our peevish opposition 100 

Take it to heart ? Fie ! 'tis a fault to heaven, 
A fault against the dead, a fault to nature, 
To reason most absurd, whose common theme 
Is death of fathers, and who still hath cried, 
From the first corse till he that died to-day, 
'This must be so.' We pray you, throw to earth 
This unprevaihng woe, and think of us 
As of a father : for let the world take note, 
You are the most immediate to our throne; 
And with no less nobility of love no 

Than that which dearest father bears his son, 
Do I impart toward you. For your intent 



ACT I. SCENE 11. 



13 



In going back to school in Wittenberg, 
It is most retrograde to our desire : 
And we beseech you, bend you to remain 
Here in the cheer and comfort of our eye, 
Our chiefest courtier, cousin, and our son. 

Queen. Let not thy mother lose her prayers, Hamlet: 
I pray thee, stay with us ; go not to Wittenberg. 

Ham. I shall in all my best obey you, madam. 120 

King. Why, 'tis a loving and a fair reply : 
Be as ourself in Denmark. Madam, come ; 
This gentle and unforced accord of Hamlet 
Sits smiling to my heart : in grace whereof. 
No jocund health that Denmark drinks to-day, 
But the great cannon to the clouds shall tell, 
And the king's rouse the heavens shall bruit again. 
Re-speaking earthly thunder. Come away. 

\Exeiint all but Hamlet. 

Ham. O, that this too too solid flesh would melt. 
Thaw and resolve itself into a dew ! 130 

Or that the Everlasting had not fix'd 
His canon 'gainst self-slaughter ! O God ! God ! 
How weary, stale, flat, and unprofitable 
Seem to me all the uses of this world ! 
Fie on't ! ah fie ! 'tis an unweeded garden, 
That grows to seed; things rank and gross in nature 
Possess it nierely. That it should come to this ! 
But two months dead ! nay, not so much, not two: 
So excellent a king ; that was, to this, 
Hyperion to satyr ; so loving to my mother 140 



H 



HAMLET. 



That he might not bet^em the winds of heaven 
Visit her face too roughly. Heaven and earth ! 
Must I remember ? w^hy, she would hang on him, 
As if increase of appetite had grown 
By what it fed on : and yet, within a month — 
Let me not think on't — Frailty, thy name is 

woman ! — 
A little month, or ere those shoes were old 
With which she follow'd my poor father's body, 
Like Niobe, all tears, why she, even she — 
O God ! a beast, that wants discourse of reason, 150 
Would have mourn'd longer — married with my uncle, 
My father's brother, but no more lijce my father 
Than I to Hercules : within a month : 
Ere yet the salt of most unrighteous tears 
Had left the flushing in her galled eyes. 
She married. O, most wicked speed, to post 
With such dexterity to incestuous sheets ! 
It is not nor it cannot come to good ; 
But break, my heart, for I must hold my tongue. 

Enter Horatio, Marcellus, and Bernardo. 

Hor. Hail to your lordship ! 

Ham. I am glad to see you well : 

Horatio, — or I do forget myself. 161 

Hor. The same, my lord, and your poor servant 

ever. 
Ham. Sir, my good friend; I'll change that name 

with you : 



ACT I. SCENE IL 



15 



And what make you from Wittenberg, Horatio ? 
Marcellus ? 

Mar. My good lord — 

Ham. I am very glad to see you. Good even, sir. 
But what, in faith, make you from Wittenberg .'' 

Hor. A truant disposition, good my lord. 

Hatn. I would not hear your enemy say so, 170 

Nor shall you do my ear that violence. 
To make it truster of your own report 
Against yourself : I know you are no truant. 
But what is your affair in Elsinore } 
We'll teach you to drink deep ere you depart. 

Hor. My lord, I came to see your father's funeral. 

Ham. I pray thee, do not mock me, fellow-stu- 
dent ; 
I think it was to see my mother's wedding, 

Hor. Indeed, my lord, it follow'd hard upon. 

Ham. Thrift, thrift, Horatio ! the funeral baked- 
meats iSo 

Did coldly furnish forth the marriage tables. 
Would I had met my dearest foe in heaven 
Or ever I had seen that day, Horatio ! 
My father ! — methinks I see my father. 

Hor. O where, my lord .'' 

Ham. In my mind's eye, Horatio. 

Hor. I saw him once; he was a goodly king. 

Ham. He was a man, take him for all in all, 
I shall not look upon his like again. 

Hor. My lord, I think I saw him yesternight. 



l6 HAMLET. 

Ham. Saw ? who ? 190 

Hor. My lord, the king your father. 

Hani. The king my father ! 

Hor. Season your admiration for a while 
With an attent ear, till I may deliver, 
Upon the witness of these gentlemen, 
This marvel to you. 

Ham. For God's love, let me hear. 

Hor. Two nights together had these gentlemen, 
Marcellus and Bernardo, on their watch, 
In the dead vast and middle of the night. 
Been thus encounter'd. A figure like your father. 
Armed at point exactly, cap-a-pe, 200 

Appears before them, and with solemn march 
Goes slow and stately by them ; thrice he walk'd 
By their oppress'd and fear-surprised eyes. 
Within his truncheon's length; whilst they, distill'd 
Almost to jelly with the act of fear. 
Stand dumb and speak not to him. This to me 
In dreadful secrecy impart they did ; 
And I with them the third night kept the watch : 
Where, as they had deliver'd, both in time, 
Form of the thing, each word made true and good, 210 
The apparition comes : I knew your father; 
These hands are not more like. 

Ham. But where was this ? 

Mar. My lord, upon the platform where we watch'd. 

Ham. Did you not speak to it ? 

Hor. My lord, I did ; 



ACT I. SCENE II. ly 

But answer made it none : yet once methought 

It lifted up it head and did address 

Itself to motion, like as it would speak; 

But even then the morning cock crew loud, 

And at the sound it shrunk in haste away, 

And vanish'd from our sight. 

Ham. 'Tis very strange. 220 

Hor. As I do live, my honor'd lord, 'tis true; 

And we did think it writ down in our duty 

To let you know of it. 

Hani. Indeed, indeed, sirs, but this troubles me. 

Hold you the watch to-night 1 

Ber^ \ We do, my lord. 

Ham. Arm'd say you.'' 

„ _ V Arm d, my lord. 
Ham. From top to toe } 

n " [ My lord, from head to foot. 

Ham. Then you saw not his face ^ 

Hor. O, yes, my lord ; he wore his beaver up. 230 

Ham. What, look'd he frowningly } 

Hor. A countenance more in sorrow than in anger. 

Ham. Pale or red '^. 

Hor. Nay, very pale. 

Ham. And fix'd his eyes upon you .-' 

Hor. Most constantly. 

Ham. I v/ould I had been there. 

Hor. It would have much amazed you. 



1 8 HAMLET. 

Ham. Very like, very like. Stay'd it long? 
Hor. While one with moderate haste might tell a 
hundred. 

bZ' }^^"S^'^' longer. 

Hor. Not when I saw't. 

Ham. His beard was grizzled .-• no ? 

Hor. It was as I have seen it in his life, 241 

A sable silver'd. 

Ham. I will watch to-night ; , 

Perchance 'twill walk again. 

Hor. I warrant it will. 

Ham. If it assume my noble father's person, 
I'll speak to it, though hell itself should gape 
And bid me hold my peace. I pray you all, 
If you have hitherto conceal'd this sight. 
Let it be tenable in your silence still ; 
And whatsoever else shall hap to-night, 
Give it an understanding, but no tongue : 250 

I will requite your loves. So, fare you well : 
Upon the platform, 'twixt eleven and twelve, 
I'll visit you. 

All. Our duty to your honor. 

Ham. Your loves, as mine to you : farewell. 

\^Exeiint all but Hamlet. 
My father's spirit in arms ! all is not well; 
I doubt some foul play ; would the night were come ! 
Till then sit still, my soul : foul deeds will rise, 
Though all the earth o'erwhelm them, to men's eyes. 

\Exit. 



ACT I. SCENE III. 19 

Scene III. A room in Polonius's house. 
Ejiter Laertes and Ophelia, 

Laer. My necessaries are embark'd : farewell : 
And, sister, as the winds give benefit 
And convoy is assistant, do not sleep, 
But let him hear from you. 

Oph. Do you doubt that ? 

Laer. For Hamlet and the trifling of his favor. 
Hold it a fashion and a toy in blood, 
A violet in the youth of primy nature. 
Forward, not permanent, sweet, not lasting, 
The perfume and suppliance of a minute, 
No more. 

Oph. No more but so ? 

Laer. Think it no more : 10 

For nature crescent does not grow alone 
In thews and bulk, but, as this temple waxes. 
The inward service of the mind and soul 
Grows wide withal. Perhaps he loves you now, 
And now no soil nor cautel doth besmirch 
The virtue of his will : but you must fear, 
His greatness weigh'd, his will is not his own ; 
For he himself is subject to his birth : 
He may not, as unvalued persons do, 
Carve for himself, for on his choice depends 20 

The safety and health of this whole state ; 
And therefore must his choice be circumscribed 
Unto the voice and yielding of that body 



20 HAMLET. 

Whereof he is the head. Then if he says he loves 

you, 
It fits your wisdom so far to believe it 
As he in his particular act and place 
May give his saying deed ; which is no further 
Than the main voice of Denmark goes withal. 
Then weigh what loss your honor may sustain, 
If with too credent ear you list his songs, 30 

Or lose your heart, or your chaste treasure open 
To his unmaster'd importunity. 
Fear it, Ophelia, fear it, my dear sister, 
And keep you in the rear of your affection, 
Out of the shot and danger of desire. 
The chariest maid is prodigal enough. 
If she unmask her beauty to the moon : 
Virtue itself 'scapes not calumnious strokes : 
The canker galls the infants of the spring. 
Too oft before their buttons be disclosed, 40 

And in the morn and liquid dew of youth 
Contagious blastments are most imminent. 
Be wary then ; best safety lies in fear : 
Youth to itself rebels, though none else near. 

OpJi. I shall the effect of this good lesson keep. 
As watchman to my heart. But, good my brother. 
Do not, as some ungracious pastors do, 
Show me the steep and thorny way to heaven ; 
Whiles, like a puff 'd and reckless libertine. 
Himself the primrose path of dalliance treads 50 

And recks not his own rede. 



ACT I. SCENE III. 21 

Laer. O, fear me not. 

I stay too long : but here my father comes. 

Enter PoLONius. 

A double blessing is a double grace ; 
Occasion smiles upon a second leave. 

Pol.^ Yet here, Laertes ! aboard, aboard, for 

shame ! 
The wind sits in the shoulder of your sail, 
And you are stay'd for. There ; my blessing with 

thee! 
And these few precepts in thy memory 
Look thou character. Give thy thoughts no tongue. 
Nor any unproportion'd thought his act. 60 

Be thou familiar, but by no means vulgar. 
Those friends thou hast, and their adoption tried, 
Grapple them to thy soul with hoops of steel. 
But do not dull thy palm with entertainment 
Of each new-hatch'd, unfledged comrade. Beware 
Of entrance to a quarrel, but being in, 
Bear't that the opposed may beware of thee. 
Give every man thy ear, but few thy voice : 
Take each man's censure, but reserve thy judgement. 
Costly thy habit as thy purse can buy, 70 

But not express'd in fancy ; rich, not gaudy ; 
For the apparel oft proclaims the man. 
And they in France of the best rank and station 
Are of a most select and generous chief in that. 
Neither a borrower nor a lender be ; 



22 HAMLET. 

For loan oft loses both itself and friend, 

And borrowing dulls the edge of husbandry. 

This above all : to thine ownself be true, 

And it must follow, as the night the day, 

Thou canst not then be false to any man, so 

Farewell : my blessing season this in thee ! 

Laer. Most humbly do I take my leave, my lord, 

Pol. The time invites you ; go ; your servants tend, 

Laer. Farewell, Ophelia, and remember well 
What I have said to you. 

OpJi. 'Tis in my memory lock'd. 

And you yourself shall keep the key of it. 

Laer. Farewell. {Exit. 

Pol. What is't, Ophelia, he hath said to you .'' 

Oph. So please you, something touching the Lord 
Hamlet, 

Pol. Marry, well bethought : 90 

Tis told me, he hath very oft of late 
Given private time to you, and you yourself 
Have of your audience been most free and boun- 
teous : 
If it be so — as so 'tis put on me, 
And that in way of caution — I must tell you, 
You do not understand yourself so clearly 
As it behoves my daughter and your honor. 
What is between you .-' give me up the truth. 

Oph. He hath, my lord, of late made many tenders 
Of his affection to me. 100 

Pol. Affection ! pooh ! you speak like a green girl. 



ACT I. SCENE III. 



23 



Unsifted in such perilous circumstance. 

Do you believe his tenders, as you call them ? 

OpJi. I do not know, my lord, what I should 
think. 

Pol. Marry, I'll teach you : think yourself a baby, 
That you have ta'en these tenders for true pay, 
Which are not sterling. Tender yourself more 

dearly ; 
Or — not to crack the wind of the poor phrase, 
Running it thus — you'll tender me a fool. 

Oph. My lord, he hath importuned me with love 1,0 
In honorable fashion. 

Pol. Ay, fashion you may call it ; go to, go to. 

Oph. And hath given countenance to his speech, 
my lord, 
With almost all the holy vows of heaven. 

Pol. Ay, springes to catch woodcocks. I do know. 
When the blood burns, how prodigal the soul 
Lends the tongue vows : these blazes, daughter, 
Giving more light than heat, extinct in both, 
Even in their promise, as it is a-making, 
You must not take for fire. From this time >^" 

Be something scanter of your maiden presence ; 
Set your entreatments at a higher rate 
Than a command to parley. For Lord Hamlet, 
Believe so much in him, that he is young, 
And with a larger tether may he walk 
Than may be given you : in few, Ophelia, 
Do not believe his vows ; for they are brokers, 



24 



HAMLET. 



Not of that dye which their investments show, 

But mere implorators of unholy suits, 

Breathing Hke sanctified and pious bawds, 130 

The better to beguile. This is for all : 

I would not, in plain terms, from this time forth. 

Have you so slander any moment leisure, 

As to give words or talk with the Lord Hamlet. 

Look to't, I charge you : come your ways. 

Oph. I shall obey, my lord. \Exeunt. 

Scene IV. TJie platform. 
Enter Hamlet, Horatio, and Marcellus. 

Ham. The air bites shrewdly; it is very cold. 
Hor. It is a nipping and an eager air. 
Ham. What hour now } 

Hor. I think it lacks of twelve. 

Mar. No, it is struck. 

Hor. Indeed.'' I heard it not: it then draws near 
the season 
Wherein the spirit held his wont to walk. 

[^A flourish of trumpets y and ordnance shot off ivithin. 

What does this mean, my lord .-^ 

Ham. The king doth wake to-night and takes his 
rouse. 
Keeps wassail, and the swaggering up-spring reels; 
And, as he drains his draughts of Rhenish down, 10 
The kettle-drum and trumpet thus bray out 
The triumph of his pledge. 



ACT L SCENE IV, 



25 



Hor. Is it a custom : 

Ham. Ay, marry, is't: 
But to my mind, though I am native here 
And to the manner born, it is a custom 
More honor'd in the breach than the observance. 
This heavy-headed revel east and west 
Makes us traduced and tax'd of other nations : 
They clepe us drunkards, and with swinish phrase 
Soil our addition ; and indeed it takes 20 

From our achievements, though perform'd at height, 
The pith and marrow of our attribute. 
So, oft it chances in particular men, 
That for some vicious mole of nature in them, 
As, in their birth — wherein they are not guilty. 
Since nature cannot choose his origin — 
By the o'ergrowth of some complexion, 
Oft breaking down the pales and forts of reason, 
Or by some habit that too much o'er-leavens 
The form of plausive manners, that these men, 30 

Carrying, I say, the stamp of one defect. 
Being nature's livery, or fortune's star, — 
Their virtues else, be they as pure as grace, 
As infinite as man may undergo — 
Shall in the general censure take corruption 
From that particular fault : the dram of eale 
Doth all the noble substance of a doubt 
To his own scandal. 



26 HAMLET. 

Enter Ghost. 

Hor. Look, my lord, it comes ! » 

Ham Angels and ministers of grace defend us ! 
Be thou a spirit of health or goblin damn'd, 40 

Bring with thee airs from heaven or blasts from hell. 
Be thy intents wicked or charitable, 
Thou comest in such a questionable shape 
That I will speak to thee : I'll call thee Hamlet, 
King, father, royal Dane : O, answer me ! 
Let me not burst in ignorance ; but tell 
Why thy canonized bones, hearsed in death. 
Have burst their cerements ; why the sepulchre, 
Wherein we saw thee quietly inurn'd, 
Hath oped his ponderous and marble jaws, 50 

To cast thee up again. What may this mean, 
That thou, dead corse, again in complete steel 
Revisit'st thus the glimpses of the moon, 
Making night hideous ; and we fools of nature 
So horridly to shake our disposition 
With thoughts beyond the reaches of our souls ? 
Say, why is this ? wherefore .-* what should we do .■' 

\Gliost beckons Hamlet. 

Hor. It beckons you to go away with it, 
As if it some impartment did desire 
To you alone. 

Mar. Look, with what courteous action 60 

It waves you to a more removed ground : 
But do not go with it. 



ACT I. SCENE IV. 



2^ 



Hor. No, by no means. 

Ham. It will not speak ; then I will follow it. 

Hor. Do not, my lord. 

Ham. Why, what should be the fear } 

I do not set my life at a pin's fee ; 
And for my soul, what can it do to that, 
Being a thing immortal as itself ? 
It waves me forth again : I'll follow it. 

Hor. What if it tempt you toward the flood, my 
lord. 
Or to the dreadful summit of the cliff 70 

That beetles o'er his base into the sea. 
And there assume some other horrible form, 
Which might deprive your sovereignty of reason 
And draw you into madness.? think of it : 
The very place puts toys of desperation. 
Without more motive, into every brain 
That looks so many fathoms to the sea 
And hears it roar beneath. 

Ham. It waves me still. 

Go on ; I'll follow thee. 79 

Mar. You shall not go, my lord. 

Ham. Hold off your hands. 

Hor. Be ruled ; you shall not go. 

Ham. My fate cries out, 

And makes each petty artery in this body 
As hardy as the Nemean lion's nerve. 
Still am I call'd. Unhand me, gentlemen. 
By heavens, I'll make a ghost of him that lets me : 



28 HAMLET. 

I say, away ! Go on ; I'll follow thee. 

\Exeunt Ghost and Havilet. 
Hor. He waxes desperate with imagination. 
Mar. Let's follow ; 'tis not fit thus to obey him. 
Hor. Have after. To what issue will this come .-* 
Mar. fSomething is rotten in the state of Denmark. ) 
Hor. Heaven will direct it. 

Mar. Nay, let's follow him. 91 

\Excunt. 

Scene V. Aiiother part of the platform. 
Enter Ghost and Hamlet. 

Ham. Whither wilt thou lead me .-* speak ; I'll go 
no further. 

Ghost. Mark me. 

Ham. I will. 

Ghost. My hour is almost come, 

When I to sulphurous and tormenting flames 
Must render up myself. 

Ham. Alas, poor ghost ! 

Ghost. Pity me not, but lend thy serious hearing 
To what I shall unfold. 

Ham. Speak ; I am bound to hear. 

Ghost. So art thou to revenge, when thou shalt 
hear. 

Ham. What.? 

Ghost. I am thy father's spirit ; 
Doom'd for a certain term to walk the night, 10 



ACT I. SCENE V. 



29 



And for the day confined to fast in fires, 

Till the foul crimes done in my days of nature 

Are burnt and purged away. But that I am forbid 

To tell the secrets of my prison-house, 

I could a tale unfold whose lightest word 

Would harrow up thy soul, freeze thy young blood. 

Make thy two eyes, like stars, start from their spheres. 

Thy knotted and combined locks to part 

And each particular hair to stand an end, 

Like quills uporrthe fretful porpentine : 20 

But this eternal blazon must not be 

To ears of flesh and blood. List, list, O, list ! 

If thou didst ever thy dear father love — 

Nam. O God ! 

GJiost. Revenge his foul and most unnatural murder. 

Ham. Murder ! 

Ghost. Murder most foul, as in the best it is ; 
But this most foul, strange and unnatural. 

Ham. Haste me to know't, that I, with wings as 
swift 
As meditation or the thoughts of love, 30 

May sweep to my revenge. 

Ghost. I find thee apt ; 

And duller shouldst thou be than the fat weed 
That roots itself in ease on Lethe wharf, 
Wouldst thou not stir in this. Now, Hamlet, hear : 
'Tis given out that, sleeping in my orchard, 
A serpent stung me ; so the v/hole ear of Denmark 
Is by a forged process of my death 



30 HAMLET. 

Rankly abused : but know, thou noble youth, 
The serpent that did sting thy father's hfe 
Now wears his crown. 

Ham. O my prophetic soul ! 40 

My uncle ! 

Ghost. Ay, that incestuous, that adulterate beast, 
With witchcraft of his wit, with traitorous gifts, — 
O wicked wit and gifts, that have the power 
So to seduce ! — won to his shameful lust 
The will of my most seeming-virtuous queen : 

Hamlet; what a falling-off was there ! 
From me, whose love was of that dignity 
That it went hand in hand even with the vow 

1 made to her in marriage, and to decline 50 
Upon a wretch whose natural gifts were poor 

To those of mine ! 

But virtue, as it never will be moved, 

Though lewdness court it in a shape of heaven, 

So lust, though to a radiant angel link'd, 

Will sate itself in a celestial bed 

And prey on garbage. 

But soft ! methinks I scent the morning air ; 

Brief let me be. Sleeping within my orchard. 

My custom always of the afternoon, 60 

Upon my secure hour thy uncle stole, 

With juice of cursed hebenon in a vial, 

And in the porches of my ears did pour 

The leperous distilment ; whose effect 

Holds such an enmity with blood of man 



ACT L SCENE V. ^j 

That swift as quicksilver it courses through 
The natural gates and alleys of the body, 
And with a sudden vigor it doth posset 
And curd, like eager droppings into milk, 
The thin and wholesome blood : so did it mine ; 70 
And a most instant tetter bark'd about, 
Most lazar-like, with vile and loathsome crust, 
All my smooth body. 

Thus was I, sleeping, by a brother's hand 
Of life, of crown, of queen, at once dispatch'd : 
Cut off even in the blossoms of my sin, 
Unhousel'd, disappointed, unaneled. 
No reckoning made, but sent to my account 
With all my imperfections on my head : 
O, horrible ! O, horrible ! most horrible ! 80 

If thou hast nature in thee, bear it not ; 
Let not the royal bed of Denmark be 
A couch for luxury and damned incest. 
But, howsoever thou pursuest this act. 
Taint not thy mind, nor let thy soul contrive 
Against thy mother aught : leave her to heaven 
And to those thorns that in her bosom lodge, 
To prick and sting her. Fare thee well at once ! 
The glow-worm shows the matin to be near, 
And 'gins to pale his uneffectual fire : 90 

Adieu, adieu, adieu ! remember me. {Exit. 

Hani. O all you host of heaven ! O earth ! what 
else } 
And shall I couple hell? O, fie ! Hold, hold, my heart ; 



32 HAMLET. 

And you, my sinews, grow not instant old, 

But bear me stiffly up. Remember thee ! 

Ay, thou poor ghost, while memory holds a seat 

In this distracted globe. Remember thee ! 

Yea, from the table of my memory 

I '11 wipe away all trivial fond records. 

All sa\vs of books, all forms, all pressures past, loo 

That youth and observation copied there ; 

And thy commandment all alone shall live 

Within the book and volume of my brain, 

Unmix'd with baser matter: yes, by heaven ! 

O most pernicious woman ! 

villain, villain, smiling, damned villain ! 
My tables, — meet it is I set it down. 

That one may smile, and smile, and be a villain; 
At least I'm sure it may be so in Denmark: [Writing. 
So, uncle, there you are. Now to my word; no 

It is 'Adieu, adieu ! remember me.' 

1 have sworn't. 

^Z-' \ L^^'^^""'^^-] My lord, my lord! 

Mar. IWithin.] Lord Hamlet ! 

Hor. [Wit/iin.] Heaven secure him ! 

Ham. So be it ! 

Hor. [Wit/iin.] Hillo, ho, ho, my lord ! 

Ham. Hillo, ho, ho, boy ! come, bird, come 

Enter Horatio and Marcellus. 
Mar. How is't, my noble lord } 
Hor. What news, my lord .-* 



ACT I. SCENE V. 33 

Ham. O, wonderful ! 
Hor. Good my lord, tell it. 

Ham. No; you will reveal it. 

Hor. Not I, my lord, by heaven. 
Mar. Nor I, my lord. 1=0 

Ham. How say you, then; would heart of man 
once think it ? 
But you'll be secret } • 

j^l'^ I Ay, by heaven, my lord. 

Ham. There's ne'er a villain dwelling in all Den- 
mark 
But he's an arrant knave. 

Hor. There needs no ghost, my lord, come from 
the grave 
To tell us this. 

Ham. Why, right; you are i' the right; 

And so, without more circumstance at all, 
I hold it fit that we shake hands and part: 
You, as your business and desire shall point you; 
rpor every man hath business and desire, 130 

Such as it is^) and for my own poor part, 
Look you, I'll go pray. 

Hor. These are but wild and whirling words, my 

lord. 
Ham. I'm sorry they offend you, heartily; 
Yes, faith, heartily. 

Hor. There's no offence, my lord. 

Ham. Yes, by Saint Patrick, but there is, Horatio, 
3 



34 HAMLET. 

And much offence too. Touching this vision here, 

It is an honest ghost, that let me tell you: 

For your desire to know what is between us, 140 

O'ermaster't as you may. And now, good friends. 

As you are friends, scholars and soldiers, 

Give me one poor request. 

Hor. What is't my lord } we will. 

Hani. Never make known what you have seen to- 
night. 



^j ■ \ My lord, we will not. 



Ham. Nay, but swear't. 

Hor. In faith, 

My lord, not I. 

Mar. Nor I, my lord, in faith. 

Ham. Upon my sword. 

Hor. We have sworn, my lord, already. 

Ham. Indeed, upon my sword, indeed. 

Ghost. \BeneatJi.'\ Swear. 

Ham. Ah, ha, boy ! say'st thou so ? art thou there, 
truepenny } 150 

Come on: you hear this fellow in the cellarage: 
Consent to swear. 

Hor. Propose the oath, my lord. 

Ham. Never to speak of this that you have seen, 
Swear by my sword. 

Ghost. \BeneatJi.'\ Swear. 

Ham. Hie et ubique t then we'll shift our ground. 
Come hither, gentlemen. 



ACT I. SCENE V. 



35 



And lay your hands again upon my sword: 

Never to speak of this that you have heard, 

Swear by my sword. i6o 

Ghost. \BeneatJi.'\ Swear. 

Ham. Well said, old mole ! canst work i' the earth 
so fast .'' 
A worthy pjoner ! Once more remove, good friends. 

Hor. O day and night, but this is wondrous 
strange ! 

Ham. And therefore as a stranger give it welcome. 
There are more things in heaven and earth, Horatio, 
Than are dreamt of in your philosophy. 
But come; 

Here, as before, never, so help you mercy, 
How strange or odd soe'er I bear myself, 170 

As I perchance hereafter shall think meet 
To put an antic disposition on, 
That you, at such times seeing me, never shall, 
With arms encumber'd thus, or this head-shake, 
Or by pronouncing of some doubtful phrase. 
As 'Well, well, we know,' or 'We could, an if we 

would, ' 
Or 'If we list to speak,' or 'There be, an if they 

might, ' 
Or such ambiguous giving out, to note 
That you know aught of me: this not to do, 
So grace and mercy at your most need help you, iso 
Swear. 

Ghost. [Beneath.'] Swear. 



36 HAMLET. 

Ham. Rest, rest, perturbed spirit ! \TJiey swear. '\ 
So, gentlemen, 
With all my love I do commend me to you: 
And what so poor a man as Hamlet is 
May do, to express his love and friending to you, 
God willing, shall not lack. Let us go in together; 
And still your fingers on your lips, I pray. 
The time is out of joint: O cursed spite, 
That ever I was born to set it right ! 190 

Nay, come, let's go together. \Exeimt. 

ACT II. 

Scene i. A room in Polonius's liouse. 

Enter Polonius and Reynaldo. 

Pol. Give him this money and these notes, Rey- 
naldo. 
Rey. I will, my lord, 

Pol. You shall do marvelous wisely, good Rey- 
naldo, 
Before you visit him, to make inquire 
Of his behavior. 

Rey. My lord, I did intend it. 

Pol. Marry, well said; very well said. Look you, 
sir. 
Inquire me first what Danskers are in Paris, 
And how, and who, what means, and where they 
keep. 



ACT 11. SCENE I. 



37 



What company, at what expense; and finding 

By this encompassment and drift of question lo 

That they do know my son, come you more nearer 

Than your particular demands will touch it: 

Take you, as 'twere, some distant knowledge of him; 

As thus, * I know his father and his friends, 

And in part him': do you mark this, Reynaldo ? 

Rey. Ay, very well, my lord. 

Pol. 'And in part him; but' you may say * not well: 
But if't be he I mean, he's very wild; 
Addicted so and so' : and there put on him 
What forgeries you please ; marry, none so rank 20 
As may dishonor him; .take heed of that; 
But, sir, such wanton, wild and usual slips 
As are companions noted and most known 
To youth and liberty. 

Rey. As gaming, my lord. 

Pol. Ay, or drinking, fencing, swearing, quarreling: 
You may go so far. 

Rey. My lord, that would dishonor him. 

Pol. Faith, no; as you may season it in the charge. 
You must not put another scandal on him, 
That he is open to incontinency ; 30 

That's not my meaning : but breathe his faults so 

quaintly 
That they may seems the taints of liberty, 
The flash and outbreak of a fiery mind, 
A savageness in unreclaimed blood, 
Of general assault. 



38 HAMLET. 

Rey. But, my good lord, — 

Pol. Wherefore should you do this ? 

Rey. Ay, my lord, 

I would know that. 

Pol. Marry, sir, here's my drift ; 

And I beheve it is a fetch of warrant : 
You laying these slight sullies on my son, 
As 'twere a thing a little soil'd i' the working, ^^ 

Mark you. 

Your party in converse, him you would sound, 
Having ever seen in the prenominate crimes - 
The youth you breathe of guilty, be assured 
He closes with you in this consequence ; 
' Good sir, ' or so, or ' friend, ' or * gentleman, ' 
According to the phrase or the addition 
Of man and country. 

Rey. Very good, my lord. 

Pol. And then, sir, does he this — he does — what 
was I about to say .-' By the mass, I was about to say 
something : where did I leave .'' 51 

Rey. At * closes in the consequence, ' at ' friend or 
so,' and 'gentleman.' 

Pol. At ' closes in the consequence, ' ay, marry ; 
He closes thus : ' I known the gentlemen ; 
I saw him yesterday, or t' other day, 
Or then, or then, with such, or such, and, as you say. 
There was a' gaming, there o'ertook in 's rouse ; 
There falling out at tennis ' : or perchance, 
' I saw him enter such a house of sale,' 60 



ACT II. SCENE I. 



39 



Videlicet, a brothel, or so forth. 

See you now ; 

Your bait of falsehood takes this carp of truth : 

And thus do we of wisdom and of reach. 

With windlasses and with assays of bias, 

By indirections find directions out : 

So by my former lecture and advice. 

Shall you my son. You have me, have you not ? 

Rey. My lord, I have. 

Pol. God be wi' you ; fare you well. 

Rcy. Good my lord ! 7° 

Pol. Observe his inclination in yourself. 

Rey. I shall, my lord. 

Pol. And let him ply his music. 

Rcy. Well, my lord. 

Pol. Farewell ! \Exit Reynaldo. 

Enter Ophelia. 

How now, Ophelia ! what's the matter } 
Oph. O, my lord, my lord, I have been so affrighted ! 
Pol. With what, i' the name of God .-* 
Oph. My lord, as I was sewing in my closet. 
Lord Hamlet, with his doublet all unbraced ; 
No hat upon his head : his stockings foul'd, 
Ungarter'd, and down-gyved to his ancle ; ^° 

Pale as his shirt ; his knees knocking each other. 
And with a look so piteous in purport 
As if he had been loosed out of hell 
To speak of horrors, he comes before me. 



40 HAMLET. 

Pol. Mad for thy love ? 

OpJi. My lord, I do not know ; 

But truly I do fear it. 

Pol. What said he ? 

Oph. He took me by the wrist and held me hard ; 
Then goes he to the length of all his arm ; 
And with his other hand thus o'er his brow, 
He falls to such perusal of my face '^ 

As he would draw it. Long stay'd he so. 
At last, a little shaking of mine arm, 
And thrice his head thus waving up and down, 
He raised a sigh so piteous and profound 
As it did seem to shatter all his bulk 
And end his being : that done, he lets me go : 
And with his head over his shoulder turn'd, 
He seem'd to find his way without his eyes ; 
For out o' doors he went without their help, 
And to the last bended their light on me. loo 

Pol. Come, go with me: I will go seek the king. 
This is the very ecstasy of love, 
Whose violent property fordoes itself 
And leads the will to desperate undertakings 
As oft as any passion under heaven 
That does afflict our natures. I am sorry. 
What, have you given him any hard words of late .-* 

Oph. No, my good lord ; but, as you did command, 
I did repel his letters and denied 
His access to me. 

Pol, That hath made him mad. "o 



ACT 11. SCENE II. 41 

I am sorry that with better heed and judgement 

I had not quoted him : I fear'd he did but trifle, 

And meant to wreck thee ; but beshrew my jealousy ! 

By heaven, it is as proper to our age 

To cast beyond ourselves in our opinions 

As it is common for the younger sort 

To lack discretion. Come, go we to the king : 

This must be known ; which, being kept close, might 

move 
More grief to hide than hate to utter love. ng 

Come. {Exeunt. 

Scene II. A room in the castle. 

Enter King, Queen, Rosencrantz, Guildenstern, 
and Attendants. 
King. Welcome, dear Rosencrantz and Guilden- 
stern ! 
Moreover that we much did long to see you, 
The need we have to use you did provoke 
Our hasty sending. Something have you heard 
Of Hamlet's transformation; so call it, 
Sith nor the exterior nor the inward man 
Resembles that it was. What it should be. 
More than his father's death, that thus hath put him 
So much from the understanding of himself, 
I cannot dream of : I entreat you both, 10 

That, being of so young days brought up with him. 
And sith so neighbor'd to his youth and havior, 



42 



HAMLET. 



That you vouchsafe your rest here in our court 
Some Httle time : so by your companies 
To draw him on to pleasures, and to gather 
So much as from occasion you may glean, 
Whether aught, to us unknown, afflicts him thus, 
That open'd lies within our remedy. 

Queen. Good gentlemen, he hath much talk'd of 
you ; 
And sure I am two men there are not living 20 

To whom he more adheres. If it will please you 
To show us so much gentry and good will 
As to expend your time with us awhile, 
For the supply and profit of our hope, 
Your visitation shall receive such thanks 
As fits a king's remembrance. 

Ros. Both your majesties 

Might, by the sovereign power you have of us. 
Put your dread pleasures more into command 
Than to entreaty. 

Guil. But we both obey. 

And here give up ourselves, in the full bent 30 

To lay our service freely at your feet, 
To be commanded. 

King. Thanks, Rosencrantz and gentle Guilden- 
stern. 

Queen. Thanks, Guildenstern and gentle Rosen- 
crantz. 
And I beseech you instantly to visit 
My too much changed son. Go, some of you, 



ACT II. SCENE 11. 



43 



And bring these gentlemen where Hamlet is. 
*Guil. Heavens make our presence and our prac- 
tices 
Pleasant and helpful to him ! 

Queen. Ay, Amen ! 

\Exeunt Rosencrantz, Guildenstern, and some At- 
tendants. 
Enter Polonius. 
Pol. The ambassadors from Norway, my good lord, 
Are joyfully return'd. 41 

King. Thou still hast been the father of good 

news. 
Pol. Have I, my lord .'' I assure my good liege, 
I hold my duty, as I hold my soul. 
Both to my God and to my gracious king : 
And I do think, or else this brain of mine 
Hunts not the trail of policy so sure 
As it hath used to do, that I have found 
The very cause of Hamlet's lunacy. 

King. O, speak of that ; that do I long to hear. 50 
Pol. Give first admittance to the ambassadors ; 
My news shall be the fruit to that great feast. 

King. Thyself do grace to them, and bring them 
in. \Exit Polonius. 

He tells me, my dear Gertrude, he hath found 
The head and source of all your son's distemper. 

Queen. I doubt it is no other but the main ; 
His father's death, and our o'erhasty marriage. 
King. Well, we shall sift him. 



44 HAMLET. 

Re-enter PoLONius with Voltimand and Cornelius. 

Welcome, my good friends ! 
Say, Voltimand, what from our brother Norway ? 

Volt. Most fair return of greetings and desires. & 
Upon our first, he sent out to suppress 
His nephew's levies, which to him appear 'd 
To be a preparation 'gainst the Polack ; 
But, better look'd into, he truly found 
It was against your highness : whereat grieved. 
That so his sickness, age and impotence 
Was falsely borne in hand, sends out arrests 
On Fortinbras ; which he, in brief, obeys ; 
Receives rebuke from Norv/ay, and in fine 
Makes vow before his uncle never more ^o 

To give the assay of arms against your majesty. 
Whereon old Norv/ay, overcome with joy. 
Gives him three thousand crowns in annual fee. 
And his commission to employ those soldiers, 
So levied as before, against the Polack : 
With an entreaty, herein further shown, 

\Giving a paper. 
That it might please you to give quiet pass 
Through your dominions for this enterprise, 
On such regards of safety and allowance 
As therein are set down. 

King. It likes us well ; so 

And at our more consider 'd time we'll read, 
Answer, and think upon this business. 



ACT n. SCENE II. 



45 



Meantime we thank you for your well-took labor : 
Go to your rest ; at night we'll feast together : 
Most welcome home ! 

[Exeunt Voltimand and Cornelius. 

Pol. This business is well ended. 

My liege, and madam, to expostulate 
What majesty should be, what duty is, 
Why day is day, night night, and time is time, 
Were nothing but to waste night, day and time. 
C^herefore, since brevity is the soul of wit, gc 

And tediousness the limbs and outward flourishes, 
I will be brief. Your noble son is mad : 
Mad call I it ; for, to define true madness. 
What is't but to be nothing else but mad } 
But let that go. 

Queen. More matter, with less art. 

Pol. Madam, I swear I use no art at all. 
That he is mad, 'tis true : 'tis true 'tis pity ; 
And pity 'tis 'tis true : a foolish figure ; 
But farewell it, for I will use no art. 
Mad let us grant him then : and now remains loc 

That we find out the cause of this effect, 
Or rather say, the cause of this defect. 
For this effect defective comes by cause : 
Thus it remains, and the remainder thus. 
Perpend. 

I have a daughter — have while she is mine — 
Who, in her duty and obedience, mark, 
Hath given me this : now gather, and surmise. 



46 



HAMLET. 



\Reads\ 
• To the celestial and my soul's idol, the most beau- 
tified Ophelia, ' — no 
That's an ill phrase, a vile phrase ; ' beautified ' is a 
vile phrase : but you shall hear. Thus : 
\Reads\ 
' In her excellent white bosom, these, etc' 
Queen. Came this from Hamlet to her ? 
Pol. Good madam, stay awhile ; I will be faithful. 
\Reads\ * Doubt thou the stars are fire ; 

Doubt that the sun doth move ; 
Doubt truth to be a liar ; 

But never doubt I love, 119 

' O dear Ophelia, I am ill at these numbers ; I 
have not art to reckon my groans : but that I love 
thee best, O most best, believe it. Adieu. 
'Thine evermore, most dear lady, 

whilst this machine is to him, 
Hamlet. ' 
This in obedience hath my daughter shown me. 
And more above, hath his solicitings. 
As they fell out by time, by means and place, 
All given to mine ear. 

King. But how hath she 

Received his love .-• 

Pol. What do you think of me t 130 

King. As of a man faithful and honorable. 
Pol. I would fain prove so. But what might you 
think, 



ACT 11. SCENE II. 



47 



When I had seen this hot love on the wing — 

As I perceived it, I must tell you that, 

Before my daughter told me — what might you, 

Or my dear majesty your queen here, think, 

If I had play'd the desk or table-book, 

Or given my heart a winking, mute and dumb. 

Or look'd upon this love with idle sight ; 

What might you think ? No, I went round to work, 140 

And my young mistress thus I did bespeak : 

' Lord Hamlet is a prince, out of thy star ; 

This must not be : ' and then I prescripts gave her. 

That she should lock herself from his resort. 

Admit no messengers, receive no tokens. 

Which done, she took the fruits of my advice ; 

And he repulsed, a short tale to make, 

Fell into a sadness, then into a fast. 

Thence to a watch, thence into a weakness. 

Thence to a lightness, and by this declension iso 

Into the madness wherein now he raves 

And all we mourn for. 

King: Do you think this ! 

Queen. It may be, very like. 

Pol. Hath there been such a time, I'ld fain know 
that, 
That I have positively said ' 'Tis so, ' 
When it proved otherwise } 

King. Not that I know, 

Pol. {^Pointing to his head and shoulder.'] Take 
this from this, if this be otherwise : 



48 HAMLET. 

If circumstances lead me, I will find 

Where truth is hid, though it were hid indeed, 

Within the center. 

King. How may we try it further ? i6o 

Pol. You know, sometimes he walks four hours 
together 
Here in the lobby. 

Qiieoi. So he does indeed. 

Pol. At such a time I'll loose my daughter to him: 
Be you and I behind an arras then ; 
Mark the encounter: if he love her not, 
And be not from his reason fall'n thereon 
Let me be no assistant for a state, 
But keep a farm and carters. 

King. We will try it. 

Queen. But look where sadly the poor wretch comes 
reading. 

Pol. Away, I do beseech you, both away : i;o 

I'll board him presently. 

\Exeiint Kingy Queen, and Attendants. 

Enter Hamlet, reading. 

O, give me leave : 
How does my good Lord Hamlet ? 
Hani. Well, God-a-mercy. 
Pol. Do you know me, my lord } 
Ham. Excellent well : you are a fishmonger, 
Pol. Not I, my lord. 
Ham. Then I would you were so honest a man. 



ACT II. SCENE II. 49 

Pol. Honest, my lord ! 

Ham. Ay, sir; to be honest, as this world goes, is to 
be one man picked out of ten thousand. iSo 

Pol. That's very true, my lord. 

Ham. For if the sun breed maggots in a dead dog, 
being a god kissing carrion — Have you a daughter .-* 

Pol. I have, my lord. 

Ham. Let her not walk i' the sun: conception is a 
blessing; but as your daughter may conceive, — friend, 
look to't. 

Pol. [Aside] How say you by that ? Still harping 
on my daughter : yet he knew me not at first ; he said 
I was a fishmonger : he is far gone : and truly in my 
youth I suffered much extremity for love ; very near 
this. I'll speak to him again. What do you read, 
my lord .'' 193 

Ham. Words, words, words. 

Pol. What is the matter, my lord .'' 

Ham. Between who .-• 

Pol. I mean, the matter that you read, my lord. 

Ham. Slanders, sir : for the satirical rogue says 
here that old men have grey beards, that their faces 
are wrinkled, their eyes purging thick amber and 
plum-tree gum, and that they have a plentiful lack of 
wit, together with most weak hams : all which, sir, 
though I most powerfully and potently believe, yet I 
hold it not honesty to have it thus set down ; for 
yourself, sir, should be old as I am, if like a crab you 
could go backward. 206 

4 



50 HAMLET. 

Pol. [Aside] -Though this be madness, yet there is 
method in't.' / Will you walk out of the air, my lord ? 

Ham. Info my grave. 

Pol. Indeed, that's out of the air. [Aside] How 
pregnant sometimes his replies are ! a happiness that 
often madness hits on, which reason and sanity could 
not so prosperously be delivered of. I will leave him, 
and suddenly contrive the means of meeting between 
him and my daughter. — My honorable lord, I will 
most humbly take my leave of you. 216 

Ham. You cannot, sir, take from me anything 
that I will more willingly part withal : except my life, 
except my life, except my life. 

Pol. Fare you well, my lord. 

Ham. These tedious old fools ! 

Enter Rosencrantz and Guildenstern. 

Pol. You go to seek the Lord Hamlet; there he is. 

Ros. [To Polonius] God save you, sir! 223 

[Exit Polonius. 

Guil. My honored lord ! 

Ros. My most dear lord ! 

Ham. My excellent good friends ! How dost thou, 
Guildenstern .'' Ah, Rosencrantz ! Good lads, how do 
you both 'i 

Ros. As the indifferent children of the earth. 

Guil. Happy, in that we are not over-happy ; 
On Fortune's cap we are not the very button. 

Ham. Nor the soles of her shoes } 232 



ACT IL SCENE IL 



51 



Ros. Neither, my lord. 

Ham. Then you Hve about her waist, or in the 
middle of her favors ? What's the news ? 

Ros. None, my lord, but that the world's grown 
honest. 

Ham. Then is doomsday near : but your news is 
not true. Let me question more in particular : what 
have you, my good friends, deserved at the hands of 
Fortune, that she sends you to prison hither .■' 241 

Guil. Prison, my lord ! 

Ham. Denmark's a prison. 

Ros. Then is the world one. 

Ham. A goodly one; in which there are many con- 
fines, wards and dungeons, Denmark being one o' the 
worst. 

Ros. We think not so, my lord. 

Ham. Why, then 'tis none to you; 'for there is 
nothing either good or bad, but thinking makes it so ; 
to me it is a prison. 

Ros. Why, then your ambition makes it one; 'tis 
too narrow for your mind. 253 

Ham. O God, I could be bounded in a nut-shell 
and count myself a king; of infinite space, were it not 
that I have bad dreams. ) 

Guil. Which dreams indeed are ambition ; (for the 
very substance of the ambitious is merely the shadow 
of a dream. , 

Ham. A dream itself is but a shadow. I 

Ros. Truly, and I hold ambition of so airy and light 
a quality that it is but a shadow's shadow, 



52 HAMLET. 

Ham. Then are our beggars bodies, and our mon- 
archs and outstretched heroes the beggars' shadows. 
Shall we to the court ? for, by my fay, I cannot 
reason. 266 

^ '.J \ We'll wait upon you. 

Ham. No such matter : I will not sort you with the 
rest of my servants ; for, to speak to you like an 
honest man, I am most dreadfully attended. But, in 
the beaten way of friendship, what make you at 
Elsinore t 

Ros. To visit you, my lord; no other occasion. 

Ham. Beggar that I am, I am even poor in thanks; 
but I thank you : and sure, dear friends, my thanks 
are too dear a halfpenny. Were you not sent for .■' 
Is it your own inclining ? Is it a free visitation .■' 
Come, deal justly with me : come, come ; nay, 
speak. 

Guil. What should we say, my lord .-* 279 

Ham. Why, any thing, but to the purpose. You 
were sent for ; and there is a kind of confession in 
your looks which your modesties have not craft 
enough to color : I know the good king and queen 
have sent for you. 

Ros. To what end, my lord } 

Ham. That you must teach me. But let me con- 
jure you, by the rights of our fellowship, by the 
consonancy of our youth, by the obligation of our 
ever-preserved love, and by what more dear a better 



ACT II. SCENE IL 53 

proposer could charge you withal, be even and direct 
with me, whether you were sent for, or no. 291 

Ros. \Aside to Guildenstent] What say you? 

Ham. [Aside] Nay, then, I have an eye of you. — 
If you love me, hold not off. 

Gm/. My lord, we were sent for. 

Nam. I will tell you why ; so shall my anticipation 
prevent your discovery, and your secrecy to the king 
and queen moult no feather. I have of late — but 
wherefore I know not — lost all my mirth, forgone all 
custom of exercises ; and indeed it goes so heavily 
with my disposition that this goodly frame, the earth, 
seems to me a sterile promontory; this most excellent 
canopy, the air, look you, this brave o'erhanging 
firmament, this majestical roof fretted with golden 
fire, why, it appears no other thing to me than a foul 
and pestilent congregation of vapors. What a piece 
of work is a man ! how noble in reason ! how infinite 
in faculty ! in form and moving how express and 
admirable ! in action how like an angel ! in appre- 
hension how like a god ! the beauty of the world ! 
the paragon of animals ! And yet, to me, what is 
this quintessence of dust .-' man delights not me : no, 
nor woman neither, though by your smiling you seem 
to say so. 

Ros. My lord, there was no such stuff in my 
thoughts. 

Ham. Why did you laugh then, when I said ' man 
delights not me ' ? 318 



54 HAMLET. 

Ros. To think, my lord, if you delight not in man, 
what lenten entertainment the players shall receive 
from you : we coted them on the way ; and hither 
are they coming, to offer you service. 

Ham. He that plays the king shall be welcome ; 
his majesty shall have tribute of me ; the adventurous 
knight shall use his foil and target ; the lover shall 
not sigh gratis ; the humorous man shall end his part 
in peace ; the clown shall make those laugh whose 
lungs are tickle o' the sere ; and the lady shall say 
her mind freely, or the blank verse shall halt for't. 
What players are they ? 

Ros. Even those you were wont to take such de- 
light in, the tragedians of the city. 332 

Ham. How chances it they travel } their residence, 
both in reputation and proiit, was better both ways. 

Ros. I think their inhibition comes by the means 
of the late innovation. 

Ham. Do they hold the same estimation they did 
when I was in the city } are they so followed .-' 

Ros. No, indeed, are they not. 

Ham. How comes it .-' do they grow rusty .■' 

Ros. Nay, their endeavor keeps in the wonte d pace : 
but there is, sir, an aery of children, little eyases, that 
cry out on the top of question and are most tyran- 
nically clapped for't : these are now the fashion, and 
so berattle the common stages — so they call them — 
that many wearing rapiers are afraid of goose-quills 
and dare scarce come thither. 347 



ACT 11. SCENE II. 55 

Ham. What, are they children ? who maintains 
'em? how are they escoted ? Will they pursue the 
quality no longer than they can sing ? will they not 
say afterwards, if they should grow themselves to 
common players — as it is most like, if their means 
are no better — their writers do them wrong, to make 
them exclaim against their own succession ? 

Ros. Faith, there has been much to do on both 
sides ; and the nation holds it no sin to tarre them to 
controversy : there was for a while no money bid for 
argument unless the poet and the player went to cuffs 
in the question. 359 

Ham. Is't possible ? 

Gidl. O, there has been much throwing about of 
brains. 

Ham. Do the boys carry it away ? 

Ros. Ay, that they do, my lord ; Hercules and his 
load too. 

Ham. It is not very strange ; for my uncle is king 
of Denmark, and those that would make mows at 
him while my father lived, give twenty, forty, fifty, 
a hundred ducats a-piece for his picture in little. 
'Sblood, there is something in this more than natural, 
if philosophy could find it out. 371 

[^Flourish of trumpets within. 

Guil. There are the players. 

Ham. Gentlemen, you are welcome to Elsinore. 
Your hands, come then : the appurtenance of wel- 
come is fashion and ceremony : let me comply with 



56 HAMLET. 

you in this garb, lest my extent to the players, which, 
I tell you, must show fairly outwards, should more 
appear like entertainment than yours. You are wel- 
come : but my uncle-father and aunt-mother are 
deceived. 380 

Guil. In what, my dear lord } 

Ham. I am but mad north-north-west : when the 
wind is southerly I know a hawk from a handsaw. 

Re-enter Polonius. 

Pol. Well be with you, gentlemen! 

Ham. Hark you, Guildenstern; and you too: at 
each ear a hearer : that great baby you see there is not 
yet out of his swaddling clouts. 387 

Ros. Happily he's the second time come to them ; 
for they say an old man is twice a child. 

Ham. I will prophesy he comes to tell me of the 
players; mark it. You say right, sir : o' Monday 
morning ; 'twas so, indeed. 

Pol. My lord, I have news to tell you. 

Ham. My lord, I have news to tell you. When Ros- 
cius was an actor in Rome, — 

Pol. The actors are come hither, my lord. 396 

Ham. Buz, buz ! 

Pol. Upon my honor, — 

Ha7n. Then came each actor on his ass, — 

Pol. The best actors in the world, either for trag- 
edy, comedy, history, pastoral, pastoral-comical, 
historical-pastoral, tragical-historical, tragical-comical- 



A CT II. SCENE II. 



57 



historical-pastoral, scene individable, or poem unlim- 
ited : Seneca cannot be too heavy, nor Plautus too 
light. For the law of writ and the liberty, these are 
the only men. 

Ha?n. O Jephthah, judge of Israel, what a treasure 
hadst thou ! 408 

Pol. What a treasure had he, my lord } 

Ham. Why, 

' One fair daughter, and no more, 
The which he loved passing well.' 

Pol. [Aside] Still on my daughter. 

Havi. Am I not i' the right, old Jephthah .-' 

Pol. If you call me Jephthah, my lord, I have a 
daughter that I love passing well. 

Ham. Nay, that follows not. 

Pol. What follows, then, my lord } 

Ham. Why, 

' As by lot, God wot, ' 420 

and then, you know, 

' It came to pass, as most like it was,' — 
the first row of the pious chanson will show you 
more; for look, where my abridgement comes. 

Enter four or five Players. 

You are welcome, masters ; welcome, all. I am glad 
to see thee well. Welcome, good friends. O, my 
old friend ! thy face is valanced since I saw thee last : 
comest thou to beard me in Denmark .-' What, my 
young lady and mistress ! By'r lady, your ladyship 



58 HAMLET, 

is nearer to heaven than when I saw you last by the 
altitude of a chopine. Pray God, your voice, like a 
piece of uncurrent gold, be not cracked within the 
ring. Masters, you are all welcome. We'll e'en to't 
like French falconers, fly at anything we see : we'll 
have a speech straight : come, give us a taste of your 
quality ; come, a passionate' speech. 436 

First PL What speech, my good lord .■' 
Ham. I heard thee speak me a speech once, but it 
was never acted ; or, if it was, not above once ; for 
the play, I remember, pleased not the milUon ; 'twas 
caviare to the general : but it was — as I received it, 
and others, whose judgements in such matters cried 
in the top of mine — an excellent play, well digested 
in the scenes, set down with as much modesty as cun- 
ning. I remember, one said there were no sallets in 
the lines to make the matter savory, nor no mat- 
ter in the phrase that might indict the author of 
affection ; but called it an honest method, as whole- 
some as sweet, and by very much more handsome 
than fine. One speech in it I chiefly loved : t'was 
iEneas' tale to Dido ; and thereabout of it espe- 
cially, where he speaks of Priam's slaughter : if it live 
in your memory, begin at this line : let me see, let 
me see ; 4S4 

' The rugged Pyrrhus, like the Hyrcanian beast. ' — 
It is not so : it begins with ' Pyrrhus ': 

' The rugged Pyrrhus, he whose sable arms. 
Black as his purpose, did the night resemble 



ACT II. SCENE H. 59 

When he lay couched in the ominous horse, 

Hath now this dread and black complexion smear'd 

With heraldry more dismal ; head to foot 461 

Now is he total gules ; horridly trick'd 

With blood of fathers, mothers, daughters, sons. 

Baked and impasted with the parching streets. 

That lend a tyrannous and damned light 

To their lord's murder : roasted in wrath and fire. 

And this o'er-sized with coagulate gore. 

With eyes like carbuncles, the hellish Pyrrhus 

Old grandsire Priam seeks. ' 

So, proceed you. 470 

Pol. ' Fore God, my lord, well spoken, with good 

accent and good discretion. 
First PI. 'Anon he finds him 

Striking too short at Greeks ; his antique sword, 
Rebelhous to his arm, lies where it falls. 
Repugnant to command : unequal match'd, 
Pyrrhus at Priam drives ; in rage strikes wide ; 
But with the whiff and wind of his fell sword 
The unnerved father falls. Then senseless Ilium, 
Seeming to feel this blow, with flaming top 480 

Stoops to his base, and with a hideous crash 
Takes prisoner Pyrrhus' ear : for lo ! his sword. 
Which was declining on the milky head 
Of reverend Priam, seem'd i' the air to stick :* 
So, as a painted tyrant, Pyrrhus stood. 
And like a neutral to his will and matter. 
Did nothing. 



6o HAMLET. 

But as we often see, against some storm, 
A silence in the heavens, the rack stand still, 
The bold winds speechless, and the orb below 49° 
As hush as death, anon the dreadful thunder 
Doth rend the region, so after Pyrrhus' pause 
Aroused vengeance sets him new a-work ; 
And never did the Cyclops' hammers fall 
On Mars's armor, forged for proof eterne. 
With less remorse than Pyrrhus' bleeding sword 
Now falls on Priam. 

Out, out, thou strumpet. Fortune ! All you gods. 
In general synod take away her power ; 
Break all the spokes and fellies from her wheel, 500 
And bowl the round nave down the hill of heaven 
As low as to the fiends ! ' 
Pol. This is too long. 

Ham. It shall to the barber's, with your beard. 
Prithee, say on : come to Hecuba. 

First PL ' But who, O, who had seen the mobled 

queen — ' 
Ham. ' The mobled queen ! ' 
Pol. That's good ; ' mobled queen ' is good. 
First PI. ' Run barefoot up and down, threatening 

the flames 
With bisson rheum ; a clout upon that head 5'° 

Where late the diadem stood ; and for a robe, 
About her lank and all o'er-teemed loins, 
A blanket in the alarm of fear caught up : 
Who this had seen, with tongue in venom steep'd 



ACT II. SCENE II. 6 1 

'Gainst Fortune's state would treason have pro- 
nounced : 
But if the gods themselves did see her then, 
When she saw Pyrrhus make malicious sport 
In mincing with his sword her husband's limbs, 
The instant burst of clamor that she made, 
Unless things mortal move them not at all, 520 

Would have made milch the burning eyes of heaven. 
And passion in the gods. ' 

Pol. Look, whether he has not turned his color 
and has tears in's eyes. Prithee, no more. 

Ham. ' Tis well ; I '11 have thee speak out the rest 
of this soon. Good my lord, will you see the players 
well bestowed } Do you hear, let them be well used, 
for they are the abstract and brief chronicles of the 
time : after your death you were better have a bad 
epitaph than their ill report while you live. 530 

Pol. My lord, I will use them according to their 
desert. 

Ham. God's bodykins, man, much better : use 
every man after his desert, and who shall 'scape whip- 
ping .'' Use them after your own honor and dignity : 
the less they deserve, the more merit is in your bounty. 
Take them in. 
Pol. Come, sirs. 

Ham. Follow him, friends : we'll hear a play to- 
morrow. \Exit Poloniiis zvith all the Players but 
the First.] Dost thou hear me, old friend ; can you 
play the Murder of Gonzago.-* 



62 HAMLET. 

First PL Ay, my lord. 543 

Ham. We'll ha't to-morrow night. You could, for 
a need, study a speech of some dozen or sixteen lines, 
which I would set down and insert in't, could you not ? 

First PL Ay, my lord. 

Ham. Very well. Follow that lord ; and look you 
mock him not. \Exit First Player.'] My good 
friends, I'll leave you till night : you are welcome to 
Elsinore. 551 

Ros. Good my lord. 

Ham. Ay, so, God be wi' ye. 

[^Exetmt Rosencrants and Giiildenstern. 
Now I am alone. 
O, what a rogue and peasant slave am I ! 
Is it not monstrous that this player here. 
But in a fiction, in a dream of passion. 
Could force his soul so to his own conceit 
That from her working all his visage wann'd ; 
Tears in his eyes, distraction in 's aspect, 
A broken voice, and his whole function suiting 560 

With forms to his conceit .-' and all for nothing ! 
For Hecuba ! 

W^hat's Hecuba to him, or he to Hecuba, 
That he should weep for her ! What would he do, 
Had he the motive and the cue for passion 
That I have.'' He would drown the stage with tears 
And cleave the general ear with horrid speech, 
Make mad the guilty and appal the free, 
Confound the ignorant, and amaze indeed 



ACT 11. SCENE 11. 63 

The very faculties of eyes and ears. 570 

Yet I, 

A dull and muddy-mettled rascal, peak, 

Like John-a-dreams, unpregnant of my cause, 

And can say nothing ; no, not for a king. 

Upon whose property and most dear life 

Adamn'd defeat was made. Am I a coward .'' 

Who call's me villain .'' breaks my pate across .-' 

Plucks off my beard, and blows it in my face ? 

Tweaks me by the nose ? gives me the lie i' the throat, 

As deep as to the lungs .-* who does me this } 580 

Ha? 

'Swounds, I should take it : for it cannot be 

But I am pigeon-liver 'd and lack gall 

To make oppression bitter, or ere this 

I should have fatted all the region kites 

With this slave's offal : bloody, bloody villain ! 

Remorseless, treacherous, lecherous, kindless villain ! 

O, vengeance ! 

Why, what an ass am I ! This is most brave, 

That I, the son of a dear father murder'd, 59° 

Prompted to my revenge by heaven and hell, 

Must fall a-cursing, like a very drab, 

A scullion ! 

Fie upon't ! fob ! About, my brain ! Hum, I have 

heard 
That guilty creatures, sitting at a play, 
Have by the very cunning of the scene 
Been struck so to the soul that presently 



64 HAMLET. 

They have proclaim 'd their malefactions ; 

For murder, though it have no tongue, will speak 

With most miraculous organ. I'll have these players 

Play something like the murder of my father 6oi 

Before mine uncle : I '11 observe his looks ; 

I '11 tent him to the quick : if he but blench, 

I know my course. The spirit that I have seen 

May be the devil : and the devil hath power 

To assume a pleasing shape; yea, and perhaps 

Out of my weakness and my melancholy, 

As he is very potent with such spirits, 

Abuses me to damn me : I'll have grounds 

More relative than this. The play's the thing 6io 

Wherein I'll catch the conscience of the king. \Exit. 

ACT III. 
Scene I. A room in the castle. 

Enter King, Queen, Polonius, Ophelia, Rosen- 
CRANTZ, and Guildenstern. 

King. And can you, by no drift of circumstance. 
Get from him why he puts on this confusion. 
Grating so harshly all his days of quiet 
With turbulent and dangerous lunacy .-* 

Ros. He does confess he feels himself distracted; 
But from what cause he will by no means speak. 

Guil. Nor do we find him forward to be sounded, 
But, with a crafty madness, keeps aloof. 
When we would bring him on to some confession 
Of his true state. 



ACT in. SCENE I. 



65 



Queen. Did he receive you well ? lo 

Ros. Most like a gentleman. 

Giiil. But with much forcing of his disposition. 

Ros. Niggard of question, but of our demands 
Most free in his reply. 

Queen. Did you assay him 

To any pastime ? 

Ros. Madam, it so fell out, that certain players 
We o'er-raught on the way : of these we told him. 
And there did seem in him a kind of joy 
To hear of it : they are about the court, 
And, as I think, they have already order 20 

This night to play before him. 

Pol. 'Tis most true : 

And he beseech'd me to entreat your majesties 
To hear and see the matter. 

King. With all my heart; and it doth much con- 
tent me 
To hear him so inclined. 
Good gentlemen, give him a further edge, 
And drive his purpose on to these delights. 

Ros. We shall, my lord. 

\Exeiint Rosencrantz and Giiildenstern, 

King. Sweet Gertrude, leave us too; 

For we have closely sent for Hamlet hither, 
That he, as 'twere by accident, may here 30 

Affront Ophelia : 

Her father and myself, lawful espials, 
5 



66 HAMLET. 

Will so bestow ourselves that, seeing unseen, 
We may of their encounter frankly judge, 
And gather by him, as he is behaved, 
If't be the affliction of his love or no 
That thus he suffers for. 

Queen. I shall obey you. 

And for your part, Ophelia, I do wish 
That your good beauties be the happy cause 
Of Hamlet's wildness : so shall I hope your virtues 4° 
Will bring him to his wonted way again. 
To both your honors. 

Oph. Madam, I wish it may. {Exit Qtieen. 

Pol. Ophelia, walk you here. Gracious, so please 
you, 
We will bestow ourselves. {To Ophelia] Read on this 

book; 
That show of such an exercise may color 
Your loneliness. We are oft to blame in this, — 
'Tis too much proved — that with devotion's visage 
And pious action we do sugar o'er 
The devil himself. 

King. [Aside] O, 'tis too true ! 
How smart a lash that speech doth give my con- 
science ! 50 
The harlot's cheek, beautied with plastering art, 
Is not more ugly to the thing that helps it 
Than is my deed to my most. painted word : 
O heavy burthen ! 

Pol. I hear him coming : let's withdraw, my lord. 
[Exeunt King and Polonius. 



ACT III. SCENE I. 67 

Enter Hamlet. 

Ham. To be, or not to be : that is the question : 
Whether 'tis nobler in the mind to suffer 
The sHngs and arrows of outrageous fortune, 
Or to take arms against a sea of troubles, 
And by opposing end them ? To die : to sleep; 60 
No more; and by a sleep to say we end 
The heart-ache and the thousand natural shocks 
That flesh is heir to, 'tis a consummation 
Devoutly to be wish'd. To die, to sleep; 
To sleep: perchance to dream : ay, there's the rub; 
For in that sleep of death what dreams may come 
When we have shuffled off this mortal coil. 
Must give us pause : there's the respect 
That makes calamity of so long life; 
For who would bear the whips and scorns of time, 70 
The oppressor's wrong, the proud man's contumely, 
The pangs of despised love, the law's delay, 
The insolence of office, and the spurns 
That patient merit of the unworthy takes. 
When he himself might his quietus make 
With a bare bodkin ? who would fardels bear, 
To grunt and sweat under a weary life. 
But that the dread of something after death, 
The undiscover'd country from whose bourn 
No traveller returns, puzzles the will, 80 

And makes us rather bear those ills we have 
Than fly to others that we know not of ? 



68 HAMLET. 

Thus conscience does make cowards of us all ; 
And thus the native hue of resolution 
Is sicklied o'er with the pale cast of thought, 
And enterprises of great -pitch and moment 
With this regard their currents turn awry, 
And lose the name of action. Soft you now ! 
The fair Ophelia ! Nymph, in thy orisons 
Be all my sins remember'd. 

Oph. Good my lord, 90 

How does your honor for this many a day ? 

Ham. I humbly thank you; well, well, well. 

Oph. My lord, I have remembrances of yours, 
That I have longed long to re-deliver; 
I pray you, now receive them. 

Ham. No, not I; 

I never gave you aught. 

Oph. My honor'd lord, you know right well you 
did; 
And with them words of so sweet breath composed 
As made the things more rich : their perfume lost. 
Take these again; for to the noble mind 100 

Rich gifts wax poor when givers prove unkind. 
There, my lord. 

Ham. Ha, ha ! are you honest .-' 

Oph. My lord } 

Ham. Are you fair } 

Oph. What means your lordship .-' 

Ham. That if you be honest and fair, your honesty 
should admit no discourse to your beauty. 



ACT in. SCENE I. 69 

OpJi. Could beauty, my lord, have better commerce 
than with honesty ? no 

Ham. Ay, truly; for the power of beauty will 
sooner transform honesty from what it is than the 
force of honesty can translate beauty into his likeness : 
this was sometime a paradox, but now the time gives 
it proof. I did love you once. 

Oph. Indeed, my lord, you made me believe so. 

Ham. You should not have believed me; for virtue 
cannot so inoculate our old stock but we shall relish 
of it : I loved you not. 

Oph. I was the more deceived. 120 

Ham. Get thee to a nunnery: why wouldst thou 
be a breeder of sinners ? I am myself indifferent 
honest ; but yet I could accuse me of such things that 
it were better my mother had not borne me: I am 
very proud, revengeful, ambitious ; with more offences 
at my beck than I have thoughts to put them in, 
imagination to give them shape, or time to act them 
in. What should such fellows as I do crawling 
between earth and heaven ! We are arrant knaves 
all ; believe none of us. Go thy ways to a nunnery. 
Where's your father "i 131 

Oph. At home, my lord. 

Ham. Let the doors be shut upon him, that he 
may play the fool no where but in 's own house. 
Farewell. 'v~ 

OpJi. O, help him, you sweet heavens ! 

Ham. If thou dost marry, I'll give thee this plague 



70 



HAMLET. 



for thy dowry : be thou as chaste as ice, as pure as 
snow, thou shalt not escape calumny. Get thee to a 
nunnery, go : farewell. Or, if thou wilt needs 
marry, marry a fool ; for wise men know well enough 
what monsters you make of them. To a nunnery, 
go ; and quickly too. Farewell. 143 

Oph. O, heavenly powers, restore him ! 

Ham. I have heard of your paintings too, well 
enough ; God hath given you one face, and you make 
yourselves another : you jig, you amble, and you lisp, 
and nick-name God's creatures, and make your 
wantonness your ignorance. Go to, I'll no more 
on 't ; it hath made me mad. I say, we will have 
no more marriages : those that are married already, 
all but one, shall live ; the rest shall keep as they 
are. To a nunnery, go. {Exit. 

Oph. O, what a noble mind is here o'erthrown ! 
The courtier's, soldier's, scholar's, eye, tongue, sword ; 
The expectancy and rose of the fair state. 
The glass of fashion and the mould of form, 
The observed of all observers, quite, quite down ! 
And I, of ladies most deject and wretched, 
That suck'd the honey of his music vows, 160 

Now see that noble and most sovereign reason, 
Like sweet bells jangled, out of tune and harsh ; 
That unmatch'd form and feature of blown youth 
Blasted with ecstasy : O, woe is me. 
To have seen what I have seen, see what I see ! 



ACT III. SCENE I. 71 

Re-enter King and Polonius. 

King. Love ! his affections do not that way tend; 
Nor what he spake, though it lack'd form a Httle, 
Was not hke madness. There 's something in his soul, 
O'er which his melancholy sits on brood; 
And I do doubt the hatch and the disclose 170 

Will be some danger : which for to prevent, 
I have in quick determination 

Thus set it down : he shall with speed to England, 
For the demand of our neglected tribute : 
Haply the seas and countries different 
With variably objects shall expel 
This something-settled matter in his heart. 
Whereon his brains still beating puts him thus 
From fashion of himself. What think you on 't ? 

Pol. It shall do well : but yet do I believe iSo 

The origin and commencement of his grief 
Sprung from neglected love. How now, Ophelia! 
You need not tell us what Lord Hamlet said ; 
We heard it all. My lord, do as you please ; 
But if you hold it fit, after the play 
Let his queen mother all alone entreat him 
To show his grief : let her be round with him ; 
And I'll be placed, so please you, in the ear 
Of all their conference. If she find him not. 
To England send him, or confine him where '5° 

Your wisdom best shall think. 

King. It shall be so : 

Madness in great ones must not unwatch'd go. 

\Exeunt. 



72 HAMLET. 

Scene II. A hall in the castle. 

Enter Hamlet and Players. 

Ham. Speak the speech, I pray you, as I pro- 
nounced it to you, trippHngly on the tongue : but if 
you mouth it, as many of your players do, I had as 
lief the town-crier spoke my lines. Nor do not saw 
the air too much with your hand, thus ; but use all 
gently ; for in the very torrent, tempest, and, as I 
may say, whirlwind of your passion, you must acquire 
and beget a temperance that may give it smoothness. 
O, it offends me to the soul to hear a robustious 
periwig-pated fellow tear a passion to tatters, to very 
rags, to split the ears of the groundlirtgs, who for the 
most part are capable of nothing but inexplicable 
dumb-shows and noise : I would have such a fellow 
whipped for o'erdoing Termagant ; it out-herods 
Herod : pray you, avoid it. 

Fi7'st PI. I warrant your honor. '^ 

Ham. Be not too tame neither, but let your own 
discretion be your tutor : suit the action to the word, 
the word to the action ; with this special observance, 
that you o'erstep not the modesty of nature ; for any 
thing so overdone is from the purpose of playing, 
whose end, both at the first and now, was and is, to 
hold, as 'twere, the mirror up to nature ; to show 
virtue her own feature, scorn her own image, and the 
very age and body of the time his form and pressure. 



ACT III. SCENE II. 73 

Now this overdone, or come tardy off, though it make 
the unskilful laugh, cannot but make the judicious 
grieve ; the censure of the which one must in your al- 
lowance o'erweigh a whole theater of others. O, there 
be players that I have seen play, and heard others 
praise, and that highly, not to speak it profanely, that 
neither having the accent of Christians nor the gait 
of Christian, pagan, nor man, have so strutted and 
bellowed, that I have thought some of nature's jojir- 
neymen had made men and not made them well, they 
imitated humanity so abominably. 36 

First PL I hope we have reformed that indiffer- 
ently with us, sir. 

Hani. O, reform it altogether. And let those that 
play your clowns speak no more than is set down for 
them : for there be of them that will themselves 
laugh, to set on some quantity of barren spectators to 
laugh too, though in the mean time some necessary 
question of the play be then to be considered : that's 
villanous, and shows a most pitiful ambition in the 
fool that uses it. Go, make you ready. 46 

\Exeiint Players. 

Enter Polonius, Rosencrantz, and Guildenstern. 

How now, my lord ! will the king hear this piece of 
work .'' 

Pol. And the queen too, and that presently. 

Ham. Bid the players make haste. {Exit Polonius.'\ 
Will you two help to hasten them ? 51 



74 HAMLET. 

^iiu \ ^^ ^^^^' ^^ ^°^^- 

{Exeunt Rosencrantz and Gnildenstern. 
Ham. What ho ! Horatio ! 

Enter Horatio. 

Hor. Here, sweet lord, at your service. 

Ham. Horatio, thou art e'en as just a man 
As e'er my conversation coj^fid withal. 

Hor. O, my dear lord, — 

Ham. Nay, do not think I flatter ; 

For what advancement may I hope from thee, 
That no revenue hast but thy good spirits 
To feed and clothe thee .'' Why should the poor be 
flatter'd t 60 

No, let the candied tongue lick absurd pomp. 
And crook the pregnant hinges of the knee 
Where thrift may follow fawning. Dost thou hear .■* 
Since my dear soul was mistress of her choice 
And could of men distinguish, her election 
Hath seal'd thee for herself ; for thou hast been 
As one in suffering all, that suffers nothing, 
A man that fortune 's buffets and rewards 
Hast ta'en with equal thanks : and blest are those 
Whosd blood and judgement are so well commingled, 
That they are not a pipe for fortune's finger 71 

To sound what stop she please. Give me that man 
That is not passion's slave, and I will wear him 
In my heart's core, ay, in my heart of heart, 
As I do thee. Something too much of this. 



ACT III. SCENE 11. 



n 



There is a play to-night before the king ; 

One scene of it comes near the circumstance 

Which I have told thee of my father's death ; 

I prithee, when thou seest that act afoot, 

Even with the very comment of thy soul 80 

Observe my uncle : if his occulted guilt 

Do not itself unkennel in one speech, 

It is a damned ghost that we have seen, 

And my imaginations are as foul 

As Vulcan's stithy. Give him heedful note ; 

For I mine eyes will rivet to his face, 

And after we will both our judgements join 

In censure of his seeming. 

Hor. Well, my lord : 

If he steal aught the whilst this play is playing, 
And 'scape detecting, I will pay the theft. 90 

Ham. They are coming to the play ; I must be 
idle: 

Get you a place. 

Danish march. A flourish. Enter King, Queen, 
PoLONius, Ophelia, Rosencrantz, Guilden- 
STERN, and other Lords attendant, with the 
Guard carrying torches, 

'King. How fares our cousin Hamlet .-' 
Ham. Excellent, i' faith ; of the chameleon's dish: 

I eat the air, promise-crammed : you cannot feed 

capons so. 

King. I have nothing with this answer, Hamlet; 

these words are not mine. 



•jd HAMLET. 

Ham. No, nor mine now. [7"^ Polonius'\ My lord, 
you played once i' the university, you say ? loo 

Pol. That did I, my lord ; and was accounted a 
good actor. 

Ham. What did you enact } 

Pol. I did enact Julius Caesar : I was killed i' the 
Capitol ; Brutus killed me. 

Ham. It was a brute part of him to kill so capital 
a calf there. Be the players ready .'' 107 

Ros. Ay, my lord ; they stay upon your patience. 

Queen. Come hither, my dear Hamlet, sit by me. 

Ham. No, good mother, here's metal more at- 
tractive. 

Pol. [To tJie King] O, ho ! do you mark that .-* 

Oph. You are merry, my lord. 

Ham. Who, I.? 

Oph. Ay, my lord. 

Ham. O God, your only jig-maker. What should 
a man do but be merry .-* for, look you, how cheer- 
fully my mother looks, and my father died within's 
two hours. 

Oph. Nay, 'tis twice two months, my lord. 120 

Ham. So long .-' Nay then, let the devil wear 
black, for I'll have a suit of sables. O heavens ! die 
two months ago, and not forgotten yet .-* Then there's 
hope a great man's memory may outlive his life half 
a year: but, by'r lady, he must build churches then; 
or else shall he suffer not_ thinking on, with the hobby- 



ACT III. SCENE 11. 77 

horse, whose epitaph is, * For, O, for, O, the hobby- 
horse is forgot.' 

Hautboys play. The dumb-show enters. 
Enter a King and a Queen very lovingly ; the Queen 
embracing him and he her. She kneels^ and 
makes shoiu of protestation unto him. He takes 
her up, and declines his head upon her 7ieck : lays 
him doiun upon a bank of flowers : she, seeing 
him asleep, leaves him. Anon comes in a fellow, 
takes off his crown, kisses it, and pours poison in 
the King's ears, and exit. The Queen returns ; 
finds the King dead, and makes passionate action. 
The Poisoner, with some two or three Mutes, 
comes in again, seeming to lament with her. The 
dead body is carried away. The Poisoner wooes 
the Queen with gifts : she seems loath and un- 
willing awhile, but in the end accepts his love. 

[^Exeunt. 
Oph. What means this, my lord ? 129 

Ham. Mary, this is miching mallecho ; it means 
mischief. 

Oph. BeHke this show imports the argument of the 
play. 

Enter Prologue. 

Ham. We shall know by this fellow : the players 
cannot keep counsel ; they'll tell all. 
Prol. For us, and for our tragedy. 

Here stooping to your clemency. 



78 HAMLET. 

We beg your hearing patiently. [Exit. 

Ham. Is this a prologue, or the posy of a ring ? 

Oph. 'Tis brief, my lord. mo 

Ham. As woman's love. 

Enter two Players, King and Queen. 

PL King. Full thirty times hath Phoebus' cart gone 
round 
Neptune's salt wash and Tellus' orbed ground, 
And thirty dozen moons with borrowed sheen 
About the world have times twelve thirties been, 
Since love our hearts and Hymen did our hands 
Unite commutual in most sacred bands. 

PL Queen. So many journeys may the sun and 
moon 
Make us again count o'er ere love be done ! 
But, woe is me, you are so sick of late, 150 

So far from cheer and from your former state, 
That I distrust you. Yet, though I distrust, 
Discomfort you, my lord, it nothing must : 
For woman's fear and love holds quantity ; 
In neither aught, or in extremity. 
Now, what my love is, proof hath made you know ; 
And as my love is sized, my fear is so : 
Where love is great, the littlest doubts are fear ; 
Where little fears grow great, great love grows there. 

PL King. Faith, I must leave thee, love, and 
shortly too ; 160 

My operant powers their functions leave to do : 
And thou shalt live in this fair world behind. 



ACT in. SCENE II. 79 

Honor'd, beloved ; and haply one as kind 
For husband shalt thou — 

PL Queen. O, confound the rest ! 

Such love must needs be treason in my breast : 
In second husband let me be accurst ! 
None wed the second but who kill'd the first. 

Hani. [Aside] Wormwood, wormwood. 

P/. Queen. The instances that second marriage 
move 
Are base respects of thrift, but none of love : 170 

A second time I kill my husband dead. 
When second husband kisses me in bed, 

PI. King. I do believe you think what now you 
speak ; 
But what we do determine oft we break. 
Purpose is but the slave to memory, 
Of violent birth, but poor validity : 
Which now, like fruit unripe, sticks on the tree ; 
But fall unshaken when they mellow be. 
Most necessary ' tis that we forget 
To pay ourselves what to ourselves is debt : iSo 

What to ourselves in passion we propose, 
The passion ending, doth the purpose lose. 
The violence of either grief or "joy 
Their own enactures with themselves destroy : 
Where joy most revels, grief doth most lament ; 
Grief joys, joy grieves, on slender accident. 
This world is not for aye, nor 'tis not strange 
That even our loves should with our fortunes change ; 



8o HAMLET. 

For 'tis a question left us yet to prove, 

Whether love lead fortune or else fortune love. 190 

The great man down, you mark his favorite flies ; 

The poor advanced makes friends of enemies. 

And hitherto doth love on fortune tend ; 

For who not needs shall never lack a friend, 

And who in want a hollow friend doth try, 

Directly seasons him his enemy. 

But, orderly to end where I begun, 

Our wills and fates do so contrary run 

That our devices still are overthrown : 

Our thoughts are ours, their ends none of our own : 

So think thou wilt no second husband wed ; 201 

But die thy thoughts when thy first lord is dead. 

PI. Queen. Nor earth to me give food, nor heaven 
light ! 
Sport and repose lock from me day and night ! 
To desperation turn my trust and hope ! 
An anchor's cheer in prison be my scope ! 
Each opposite that blanks the face of joy 
Meet what I would have well and it destroy ! 
Both here and hence pursue me lasting strife, 
If, once a widow, ever I be wife ! 210 

Ham. If she should break it now ! 

PL King. 'Tis deeply sworn. Sweet, leave me here 
awhile ; 
My spirits grow dull, and fain I would beguile 
The tedious day with sleep. {Sleeps. 

PL Queen. Sleep rock thy brain ; 



ACT III. SCENE II. 8 1 

And never come mischance between us twain ! \Exit. 

Ham. Madam, how Hke you this play ? 

Queen. The lady doth protest too much, methinks. 

Ham. O, but she'll keep her word. 

King. Have you heard the argument ? Is there no 
offence in 't ? 220 

Ham. No, no, they do but jest, poison in jest ; no 
offence i' the world. 

King. What do you call the play ? 

Ham. The Mouse-trap. Marry, how ? Tropically. 
This play is the image of a murder done in Vienna : 
Gonzago is the duke's name ; his wife, Baptista : you 
shall see anon ; 'tis a knavish piece of work : but what 
o' that .'' your majesty and we that have free souls, it 
touches us not ; let the galled jade wince, our withers 
are unwrung. 230 

Enter Lucianus. 

This is one Lucianus, nephew to the king. 

OpJi. You are as good as a chorus, my lord. 

Ham. I could interpret between you and your love, 
if I could see the puppets dallying. 

Oph. Still better, and worse. 

Ham. So you must take your husbands. Begin, 
murderer ; leave thy damnable faces, and begin. 
Come : 'the croaking raven doth bellow for revenge.' 

Luc. Thoughts black, hands apt, drugs fit, and 
time agreeing ; 
Confederate season, else no creature seeing ; 240 

6 



82 HAMLET. 

Thou mixture rank, of midnight weeds collected, 
With Hecate's ban thrice blasted, thrice infected, 
Thy natural magic and dire property. 
On wholesome life usurp immediately. 

\Poiirs the poison into the sleeper's ear. 

Ham. He poisons him i' the garden for his estate. 
His name's Gonzago : the story is extant, and written 
in very choice Italian : you shall see anon how the 
murderer gets the love of Gonzago's wife. 

Oph. The king rises. 

Ham. What, frightened with false fire I 250 

Queen. How fares my lord 'i 

Pol. Give o'er the play. 

King. Give me some light : away ! 

All. Lights, lights, lights! 

[Exeu?it all but Hamlet and Horatio. 

Ham. Why, let the stricken deer go weep. 
The hart ungalled play ; 
For some must watch, while some must sleep: 
Thus runs the world away. 
Would not this, sir, and a forest of feathers — if the 
rest of my fortunes turn Turk with me — with two 
Provincial roses on my razed shoes, get me a fellow- 
ship in a cry of players, sir } 262 
Hor. Half a share. 
Ham. A whole one, I. 

For thou dost know, O Damon dear, 
This realm dismantled was 



ACT in. SCENE IT. 83 

Of Jove himself ; and now reigns here 
A very, very — pajock. 
Hor. You might have rhymed. 
Ham. O good Horatio, I'll take the ghost's word 
for a thousand pound. Didst perceive ? 271 

Hor. Very well, my lord. 
Ham. Upon the talk of the poisoning ? 
Hor. I did very well note him. 

Ham. Ah, ha ! Come, some music ! come, the re- 
corders ! 

For if the king like not the comedy. 
Why then, belike, he likes it not, perdy. 
Come, some music ! 

Re-enter Rosencrantz and Guildenstern. 

Guil. Good my lord, vouchsafe me a word with 
you. 281 

Ham. Sir, a whole history. 

Giiil. The king, sir, — 

Ham. Ay, sir, what of him '^. 

Giiil. Is in his retirement marvellous distempered. 

Ham. With drink, sir .-* 

Guil. No, my lord, rather with choler. 

Ham. Your wisdom should show itself more richer 
to signify this to the doctor : for, for me to put him 
to his purgation would perhaps plunge him into far 
more choler. 291 

Guil. Good my lord, put your discourse into some 
frame and start not so wildly from my affair. 

Ham. I am tame, sir : pronounce. 



84 HAMLET. 

Guil. The queen, your mother, in most great afflic- 
tion of spirit, hath sent me to you. 296 

Ham. You are welcome. 

Guil. Nay, good my lord, this courtesy is not of 
the right breed. If it shall please you to make me a 
wholesome answer, I will do your mother's command- 
ment: if not, your pardon and my return shall be the 
end of my business. 

Ham. Sir, I cannot. 

Guil. What, my lord .? 

Ham. Make you a wholesome answer; my wit's dis- 
eased : but, sir, such answer as I can make, you shall 
command ; or rather, as you say, my mother : there- 
fore no more, but to the matter : my mother you 
say,— 

Ros. Then thus she says ; your behavior hath 
struck her into amazement and admiration. 

Ham. O wonderful son, that can so astonish a 
mother ! But is there no sequel at the heels of this 
mother's admiration .'' Impart. 

Ros. She desires to speak with you in her closet, 
ere you go to bed. 

Ham. We shall obey, were she ten times our 
mother. Have you any further trade with us } 318 

Ros. My lord, you once did love me. 

Ham. So I do still, by these pickers and stealers. 

Ros. Good my lord, what is your cause of dis- 
temper.? you do surely bar the door upon your own 
liberty, if you deny your griefs to your friend. 



ACT III. SCENE II. 85 

Ham. Sir, I lack advancement. 

Ros. How can that be, when you have the voice of 
the king himself for your succession in Denmark ? 

Ham. Ay, sir, but ' While the grass grows, ' — the 
proverb is something musty. 

Re-enter Players with recorders. 

O, the recorders ! let me see one. To withdraw with 
you : — why do you go about to recover the wind of 
me, as if you would drive me into a toil .-' 331 

Giiil. O, my lord, if my duty be too bold, my love 
is too unmannerly. 

Havi. I do not well understand that. Will you 
play upon this pipe .■' 

Guil. My lord, I cannot. 

Ham. I pray you. 

Guil. Believe me, I cannot. 

Ham. I do beseech you. 

Guil. I know no touch of it, my lord. 340 

Ham. 'Tis as easy as lying : govern these ventages 
with your fingers and thumb, give it breath with your 
mouth, and it will discourse most eloquent music. 
Look you, these are the stops. 

Guil. But these cannot I command to any utter- 
ance of harmony; I have not the skill. 

Ham. Why, look you now, how unworthy a thing 
you make of me! You would play upon me; you 
would seem to know my stops; you would pluck out 
the heart of my mystery; you would sound me from 



86 HAMLET. 

my lowest note to the top of my compass : and there 
is much music, excellent voice, in this little organ; 
yet cannot you make it speak. 'Sblood, do you think 
I am easier to be played on than a pipe ? Call me 
what instrument you will, though you can fret me, 
yet you cannot play upon me. 

Enter Polonius. 
God bless you sir ! 

Pol. My lord, the queen would speak with you, and 
presently. 359 

Ham. Do you see yonder cloud that's almost in 
shape of a camel .'' 

Pol. By the mass, and 'tis like a camel, indeed. 

Ham. Methinks it is like a weasel, 

Pol. It is backed like a weasel. 

Ham. Or like a whale "i 

Pol. Very like a whale. 

Ham. Then I will come to my mother by and by. 
\Aside.'\ They fool me to the top of my bent. — I 
will come by and by. 369 

Pol. I will say so. {Exit Polonius. 

Ham. * By and by ' is easily said. Leave me, 
friends. [Exeunt all but Hamlet. 

'Tis now the very witching time of night. 
When churchyards yawn and hell itself breathes out 
Contagion to this world: now could I drink hot blood. 
And do such bitter business as the day 
Would quake to look on. Soft ! now to my mother. 
O heart, lose not thy nature ; let not ever 



ACT III. SCENE III. 87 

The soul of Nero enter this firm bosom : 

Let me be cruel, not unnatural : 380 

I will speak daggers to her, but use none ; 

My tongue and soul in this be hypocrites ; 

How in my words soever she be shent. 

To give them seals never, my soul, consent ! [Exit. 

Scene III. A room in the castle. 
Enter King, Rosencrantz, a7id Guildenstern, 

King. I like him not, nor stands it safe with us 
To let his madness range. Therefore prepare you ; 
I your commission will forthwith dispatch. 
And he to England shall along with you; 
The terms of our estate may not endure 
Hazard so near us as doth hourly grow 
Out of his lunacies. 

Gnil. We will ourselves provide : 

Most holy and religious fear it is 
To keep those many many bodies safe 
That live and feed upon your majesty. 10 

Ros. The single and peculiar life is bound. 
With all the strength and armor of the mind. 
To keep itself from noyance ; but much more 
That spirit upon whose weal depends and rests 
The lives of many. The cease of majesty 
Dies not alone, but like a gulf doth draw 
What's near it with it : it is a massy wheel, 
Fix'd on the summit of the highest mount, 
To whose huge spokes ten thousand lesser things 



88 HAMLET. 

Are mortised and adjoin'd ; which, when it falls, 20 
Each small annexment, petty consequence, 
Attends the boisterous ruin. Never alone 
Did the king sigh, but with a general groan. 

King. Arm you, I pray you, to this speedy voyage ; 
For we will fetters put upon this fear, 
"Which now goes too free-footed. 

J'^' \ We will haste us. 

LrUll. \ 

\^Exeunt Roscncrantz and Giiildenstcrn. 
Enter Polonius. 

Pol. My lord, he's going to his mother's closet : 
Behind the arras I'll convey myself, 
To hear the process ; I'll warrant she'll tax him home : 
And, as you said, and wisely was it said, 30 

'Tis meet that some more audience than a mother. 
Since nature makes them partial, should o'erhear 
The speech, of vantage. Fare you well, my liege : 
I'll call upon you ere you go to bed. 
And tell you what I know. 

King. Thanks, dear my lord 

[ Exit Polonius. 
O, my offence is rank, it smells to heaven; 
It hath the primal eldest curse upon't, 
A brother's murder. Pray can I not. 
Though inclination be as sharp as will : 
My stronger guilt defeats my strong intent ; 40 

And, like a man to double business bound. 



ACT III. SCENE HI. 89 

I stand in pause where I shall first begin, 
And both neglect. What if this cursed hand 
Were thicker than itself with brother's blood, 
Is there not rain enough in the sweet heavens 
To wash it white as snow ? Whereto serves mercy 
But to confront the visage of offence ? 
And what's in prayer but this twofold force. 
To be forestalled ere we come to fall, 
Or pardon'd being down ? Then I'll look up ; 50 

My fault is past. But O, what form of prayer 
Can serve my turn .-* ' Forgive me my foul murder ? ' 
That cannot be ; since I am still possess'd 
Of those effects for which I did the murder, 
My crown, mine own ambition and my queen. 
May one be pardon'd and retain the offence "i 
In the corrupted currents of this world 
Offence's gilded hand may shove by justice, 
And oft 'tis seen the wicked prize itself 
Buys out the law : but 'tis not so above ; 60 

There is no shuffling, there the action lies 
In his true nature, and we ourselves compell'd, 
Even to the teeth and forehead of our faults. 
To give in evidence. What then } what rests 1 
Try what repentance can : what can it not } 
Yet what can it when one cannot repent } 
O wretched state ! O bosom black as death ! 
O limed soul, that struggling to be free 
Art more engaged ! Help, angels ! make assay ! 
Bow, stubborn knees ; and, heart with strings of 
steel, 70 



90 



HAMLET. 



Be soft as sinews of the new-born babe ! 

All may be well. \Retircs and kneels. 

Enter Hamlet. 

Ham. Now might I do it pat, now he is praying ; 
And now I'll do't : and so he goes to heaven ; 
And so am I revenged. That would be scann'd : 
A villain kills my father ; and for that, 
I, his sole son, do this same villain send 
To heaven. 

O, this is hire and salary, not revenge. 
He took my father grossly, full of bread, so 

With all his crimes broad blown, as flush as May ; 
And how his audit stands who knows save Heaven .■' 
But in our circumstance and course of thought, 
'Tis heavy with him : and am I then revenged, 
To take him in the purging of his soul. 
When he is fit and season'd for his passage .-* 
No ! 

Up, sword, and know thou a more horrid hent : 
When he is drunk asleep, or in his rage. 
Or in the incestuous pleasure of his bed ; 90 

At game, a-swearing, or about some act 
That has no relish of salvation in't; 
Then trip him, that his heels may kick at heaven. 
And that his soul may be as damn'd and black 
As hell, whereto it goes. My mother stays : 
This physic but prolongs thy sickly days. {Exit. 



ACT II L SCENE IV. 9 1 

King. [Rising] My words fly up, my thoughts re- 
main below : 
Words without thoughts never to heaven go. [Exit. 

■^ Scene IV. T/ic Queen s closet. 
Enter Queen and Polonius. 

Pol. He will come straight. Look you lay home 
to him : 
Tell him his pranks liave been too broad to bear with, 
And that your grace hath scjeen'd and stood between 
Much heat and him. I'll sconce me even here. 
Pray you, be round with him. 

Ham. [Wit/iin] Mother, mother, mother! 

Qneoi. I'll warrant you, fear me not. Withdraw, 
I hear him coming. [Polonius hides behind the arras. 
Enter Hamlet. 

Hani. Now, mother, what's the matter .-' 

Queen. Hamlet, thou hast thy father much offended. 

Ham. Mother, you have my father much offended. 

Queen. Come, come, you answer with an idle tongue. 

Ham. Go, go, you question with a wicked tongue. 

Queen. Why, how now, Hamlet ! 

Ham. What's the matter now .-' 

Queen. Have you forgot me ? 

Ham. No, by the rood, not so : 

You are the queen, your husband's brother's wife; 
And — would it were not so ! — you are my mother. 

Queen. Nay, then, I'll set those to you that can 
speak. 



92 HAMLET. 

Ham. Come, come, and sit you down; you shall 
not budge; 
You go not till I set you up a glass 20 

Where you may see the inmost part of you. 

Qtiecn. What wilt thou do ? thou wilt not murder 
me ? 
Help, help, ho ! 

Pol. [Behind] What, ho ! help, help, help ! 

Ham. [Draiuing] How now ! a rat ? Dead, for a 
ducat, dead ! \_AIakes a pass tJirougJi iJie arras. 

Pol. [Behind] O, I am slain ! [Falls and dies. 

Queen. O me, what hast thou done ? 

Ham. Nay, I know not : is it the king ? 

Qneen. O, what a rash and bloody deed is this ! 

Ham. A bloody deed ! almost as bad, good mother. 
As kill a king, and marry with his brother. 

Queen. As kill a king ! 

Ham. Ay, lady, 'twas my word. 30 

[Lifts up the arras and discovers Poloniiis. 
Thou wretched, rash, intruding fool, farewell ! 
I took thee for thy better : take thy fortune; 
Thou find'st to be too busy is some danger. 
Leave wringing of your hands : peace ! sit you down, 
And let me wring your heart; for so I shall, 
If it be made of penetrable stuff, 
If damned custom have not brass'd it so 
That it be proof and bulwark against sense. 

Queen. What hath I done, that thou darest wag 
thy tongue 



ACT HI. SCENE IV. 



93 



In noise so rude against me ? 

Ham. Such an act 40 

That blurs the grace and blush of modesty, 
Calls virtue hypocrite, takes off the rose 
From the fair forehead of an innocent love 
And sets a blister there, makes marriage-vows 
As false as dicers' oaths : O, such a deed 
As from the body of contraction plucks 
The very soul, and sweet religion makes 
A rhapsody of words : heaven's face doth glow; 
Yea, this solidity and compound mass, 
With tristful visage, as against the doom, 50 

Is thought-sick at the act. 

Queen. Ay me, what act. 

That roars so loud, and thunders in the index ? 

Ham. Look here, upon this picture, and on this, 
The counterfeit presentment of two brothers. 
See, what a grace was seated on this brow; 
Hyperion's curls, the front of Jove himself, 
An eye like Mars, to threaten and command; 
A station like the herald Mercury 
New-lighted on a heaven-kissing hill; 
A combination and a form indeed, 60 

Where every god did seem to set his seal 
To give the world assurance of a man : 
This was your husband. Look you now, what follows : 
Here is your husband; like a mildew'd ear, 
Blasting his wholesome brother. Have you eyes 1 
Could you on this fair mountain leave to feed. 



94 



HAMLET. 



And batten on this moor ? Ha ! have you eyes ? 

You cannot call it love, for at your age 

The heyr4?-J ^"^ ^^ blood is tame, it's humble, 

And waits upon the judgement : and what judgement 70 

Would step from this to this ? Sense sure you have, 

Else could you not have motion; but sure that sense 

Is apoplex'd; for madness would not err, 

Nor sense to ecstasy was ne'er so thrall'd 

But it reserved some quantity of choice. 

To serve in such a difference. What devil was't 

That thus hath cozen'd you at hoodman-blind ? 

Eyes without feeling, feeling without sight. 

Ears without hands or eyes, smeUing sans all, 

Or but a sickly part of one true sense 80 

Could not so mope. 

O shame ! where is thy blush .-' Rebellious hell, 

If thou canst mutine in a matron's bones. 

To flaming youth let virtue be as wax. 

And melt in her own fire : proclaim no shame 

When the compulsive ardor gives the charge, 

Since frost itself as actively doth burn 

And reason pandars will. 

Queen. O Hamlet, speak no more : 

Thou turn'st mine eyes into my very soul; 
And there I see such black and grained spots 9° 

As will not leave their tinct 

O speak to me no more ; 

These words like daggers enter in mine ears ; 
No more, sweet Hamlet. 



ACT in. SCENE IV. 95 

Ham. A murderer and a villain ; 

A slave that is not twentieth part the tithe 
Of your precedent lord ; a vice of kings ; 
A cutpurse of the empire and the rule, 
That from a shelf the precious diadem stole, 
And put it in his pocket ! 

Queen. No more ! 

Ham. A king of shreds and patches — 

Entei' Ghost. 

Save me and hover o'er me w^ith your wings, 100 

You heavenly guards ! What would your gracious 
figure ? 

Queen. Alas, he's mad ! 

Ham. Do you not come your tardy son to chide, 
That, lapsed in time and passion, lets go by 
The important acting of your dread command ? 
O, say ! 

Ghost. Do not forget : this visitation 
Is but to whet thy almost blunted purpose. 
But look, amazement on thy mother sits : 
O, step between her and her fighting soul : no 

Conceit in weakest bodies strongest works : 
Speak to her, Hamlet. 

Ham. How is it with you, lady .'' 

Queen. Alas, how is't with you, 
That you do bend your eye on vacancy 
And with the incorporal air do hold discourse .'' 
Forth at your eyes your spirits wildly peep; 



96 HAMLET. 

And, as the sleeping soldiers in the alarm, 

Your bedded hair, like life in excrements, 

Start up and stand an end. O gentle son. 

Upon the heat and flame of thy distemper 120 

Sprinkle cool patience. Whereon do you look } 

Ham. On him, on him ! Look you, how pale he 
glares ! 
His form and cause conjoin'd, preaching to stones. 
Would make them capable. Do not look upon me; 
Lest with this piteous action you convert 
My stern effects : then what I have to do 
Will want true color; tears perchance for blood. 

Queen. To whom do you speak this } 

Ham. Do you see nothing there .-' 

Queen. Nothing at all ; yet all that is I see. 

Ham. Nor did you nothing hear } 

Queen. No, nothing but ourselves. 

Ham. Why, look you there ! look, how it steals 



away 



My father, in his habit as he lived ! 132 

Look, where he goes, even now, out at the portal ! 

\Exit Ghost. 

Queen. This is the very coinage of your brain : 
This bodiless creation ecstasy 
Is very cunning in. 

Ham. Ecstasy ! 

My pulse, as yours, doth temperately keep time. 
And makes as healthful music : it is not madness 
That I have utter'd : bring me to the test. 



ACT III. SCENE IV. 97 

And I the matter will re-word ; which madness 140 

Would gambol from. Mother, for love of grace, 

Lay not that flattering unction to your soul, 

That not your trespass but my madness speaks : 

It will but skin and film the ulcerous place, 

Whiles rank corruption, mining all within, 

Infects unseen. Confess yourself to heaven ; 

Repent what's past, avoid what is to come. 

And do not spread the compost on the weeds. 

To make them ranker. Forgive me this my virtue ; 

For in the fatness of these pursy times 130 

Virtue itself of vice must pardon beg. 

Yea, curb and woo for leave to do him good. 

Queen. O Hamlet, thou hast cleft my heart in twain. 

Ham. O, throw away the worser part of it, 
And live the purer with the other half. 
Good night : but go not to my uncle's bed ; 
Assume a virtue, if you have it not. 
That monster, custom, who all sense doth eat. 
Of habits devil, is angel yet in this. 
That to the use of actions fair and good 160 

He likewise gives a frock or livery. 
That aptly is put on. Refrain to-night, 
And that shall lend a kind of easiness 
To the next abstinence : the next more easy ; 
For use almost can change the stamp of nature, 
And either . , . the devil, or throw him out 
With wondrous potency. Once more, good night : 
And when you are desirous to be blest, 
7 



98 HAMLET, 

I'll blessing beg of you. For this same lord, 

\Pointing to Poloniiis. 
I do repent : but heaven hath pleased it so, 170 

To punish me with this and this with me, 
That I must be their scourge and minister. 
I will bestow him, and will answer well 
The death I gave him. So, again, good night. 
I must be cruel, only to be kind : 
Thus bad begins, and worse remains behind. 
One word more, good lady. 

Queen. What shall I do ? 

Ham. Not this, by no means, that I bid you do : 
Let the bloat king tempt you again to bed; 
Pinch wanton on your cheek, call you his mouse : iSo 
And let him, for a pair of reechy kisses. 
Or paddling in your neck with his damn'd fingers, 
Make you to ravel all this matter out, 
That I essentially am not in madness. 
But mad in craft. 'Twere good you let him know ; 
For who, that's but a queen, fair, sober, wise, 
Would from a paddock, from a bat, a gib. 
Such dear concernings hide .-' who would do so ? 
No, in despite of sense and secrecy. 
Unpeg the basket on the house's top, 190 

Let the birds fly, and like the famous ape, 
To try conclusions, in the basket creep 
And break your own neck down. 

Queen. Be thou assured, if words be made of breath. 
And breath of life, I have no life to breathe 



ACT IV. SCENE I. 99 

What thou hast said to me. 

Ham. I must to England; you know that ? 

Queen. Alack, 

I had forgot : 'tis so concluded on. 

Ham. There's letters seal'd : and my two school- 
fellows, 
Whom I will trust as I will adders fang'd, 200 

They bear the mandate ; they must sweep my way, 
And marshal me to knavery. Let it work ; 
For 'tis the sport to have the enginer 
Hoist with his own petar : and't shall go hard 
But I will delve one yard below their mines, 
And blow them at the moon : O, 'tis most sweet, 
When in one line two crafts directly meet. 
This man shall set me packing : 
I'll lug the guts into the neighbor room. 
Mother, good night. Indeed this counsellor 210 

Is now most still, most secret and most grave, 
Who was in life a foolish prating knave. 
Come, sir, to draw toward an end with you. 
Good night, mother. 

\Exeunt severally ; Hamlet dragging in Polonius. 

ACT IV. 

Scene I. A room in the castle. 

Enter King, Queen, Rosencrantz, and 

GUILDENSTERN. 

King. There's matter in these sighs, these profound 
heaves : 

L.ofC. 



100 HAMLET. 

You must translate : 'tis fit we understand them. 
Where is your son ? ► 

Queen. Bestow this place on us a little while. 

\Exeunt Rosencrantz and Giiildenstern. 
Ah, mine own lord, what have I seen to-night ! 

King. What, Gertrude .'' How does Hamlet } 

Queen. Mad as the sea and wind, when both contend 
Which is the mightier : in his lawless fit. 
Behind the arras hearing something stir. 
Whips out his rapier, cries * A rat, a rat ! ' xo 

And in this brainish apprehension kills 
The unseen good old man. 

King. O heavy deed ! 

It had been so with us, had we been there : 
His liberty is full of threats to all ; 
To you yourself, to us, to every one. 
Alas, how shall this bloody deed be answer'd } 
It will be laid to us,- whose providence 
Should have kept short, restrain'd and out of haunt. 
This mad young man : but so much was our love. 
We would not understand what was most fit ; 20 

But, like the owner of a foul disease. 
To keep it from divulging, let it feed 
Even on the pith of life. Where is he gone '> 

Queen. To draw apart the body he hath kill'd : 
O'er whom his very madness, like some ore 
Among a mineral of metals base. 
Shows itself pure ; he weeps for what is done. 

King. O Gertrude, come away ! 



ACT IV. SCENE II. lOl 

The sun no sooner shall the mountains touch, 

But we will ship him hence : and this vile deed 30 

We must, with all our majesty and skill, 

Both countenance and excuse. Ho, Guildenstern ! 

Re-enter Rosencrantz and Guildenstern. 

Friends both, go join with some further aid : 
Hamlet in madness hath Polonius slain, 
And from his mother's closet hath he dragg'd him : 
Go seek him out ; speak fair, and bring the body 
Into the chapel. I pray you, haste in this. 

\_Exe7cnt Rosencrants and Guildenstern. 
Come, Gertrude, we'll call up our wisest friends ; 
And let them know, both what we mean to do, 

And what's untimely done 40 

Whose whisper o'er the world's diameter, 

As level as the cannon to his blank. 

Transports his poison'd shot, may miss our name 

And hit the woundless air. O, come away ! 

My soul is full of discord and dismay. [Exeunt. 

Scene H. Another room in the castle. 

Enter Hamlet. 

Ham. Safely stowed. 

G^'l \ t ^^^^/""'^] Hamlet ! Lord Hamlet ! 
Ham. But soft, what noise } who calls on Hamlet .-' 
O, here they come. 



102 



HAMLET. 



Enter Rosencrantz and Guildenstern. 

Ros. What have you done, my lord, with the dead 
body ? 

Hani. Compounded it with dust, whereto 'tis kin. 

Ros. Tell us where 'tis, that we may take it thence 
And bear it to the chapel. 

Ham. Do not believe it. 

Ros. Believe what .'' lo 

Ham. That I can keep your counsel and not mine 
own. Besides, to be demanded of a sponge ! what 
replication should be made by the son of a king.? 

Ros. Take you me for a sponge, my lord } 

Ham. Ay, sir ; that soaks up the king's counte- 
nance, his rewards, his authorities. But such officers 
do the king best service in the end : he keeps them, 
like an ape, in the corner of his jaw ; first mouthed, 
to be. last swallowed : when he needs what you have 
gleaned, it is but squeezing you, and, sponge, you 
you shall be dry again. 21 

Ros. I understand you not, my lord. 

Ham. I am glad of it : a knavish speech sleeps in 
a foolish ear. 

Ros. My lord, you must tell us where the body is, 
and go with us to the king. 

Ham. The body is with the king, but the king is 
not with the body. The king is a thing — 

Giiil. A thing, my lord .'' 

Ham. Of nothing : bring me to him. Hide fox, 
and all after. [Exeunt. 



^ ACT IV. SCENE III. 103 

Scene III. Another room in the castle. 
Enter King, attended. 

King. I have sent to seek him, and to find the 
body. 
How dangerous is it that this man goes loose ! 
Yet must not we put the strong law on him : 
He's loved of the distracted multitude. 
Who like not in their judgement, but their eyes, 
And where 'tis so, the offender's scourge is weigh'd. 
But never the offence. To bear all smooth and even, 
This sudden sending him away must seem 
Deliberate pause : diseases desperate grown 
By desperate appliance are relieved, 10 

Or not at all. 

Enter Rosencrantz. 

How now ! what hath befall'n .'' 
Ros. Where the dead body is bestowed, my lord. 
We cannot get from him. 

King. But where is he t 

Ros. Without, my lord ; guarded, to know your 

pleasure. 
King. Bring him before us. 
Ros. Ho, Guildenstern ! bring in my lord. 

Enter Hamlet and Guildenstern, 

King. Now, Hamlet, where's Polonius .-* 
Ham. At supper. 



I04 HAMLET. 

King. At supper ! where ? 19 

Ham. Not where he eats, but where he is eaten : 
a certain convocation of pohtic worms are e'en at him. 
Your worm is your only emperor for diet : we fat all 
creatures else to fat us, and we fat ourselves for mag- 
gots : your fat king and your lean beggar is but vari- 
able service, two dishes, but to one table : that's the 
end. 

King. Alas, alas ! 

Ham. A man may fish with the worm that hath 
eat of a king, and eat of the fish that hath fed of that 
worm. 30 

King. What dost thou mean by this .-' 

Ham. Nothing but to show you how a king may go 
a progress through the guts of a beggar. 

Ki7tg. Where is Polonius .'' 

Ham. In heaven ; send thither to see : if your mes- 
senger find him not there, seek him i' the other place 
yourself. But indeed, if you find him not within this 
month, you shall nose him as you go up the stairs 
into the lobby. 

King. Go seek him there. \^To some Attendants. 

Ham. He will stay till you come. 

[Exetmt Attendants. 

King. Hamlet, this deed, for thine especial safety. 
Which we do tender, as we dearly grieve 
For that which thou hast done, must send thee hence 
With fiery quickness : therefore prepare thyself ; 
The bark is ready and the wind at help, 



ACT IV. SCENE III. 



105 



The associates tend, and every thing is bent 
For England. 

Ham. For England? 

King. Ay, Hamlet. 

Ham. - Good. 

King. So is it, if thou knew'st our purposes. 

Ham. I see a cherub that sees them. But, come ; 
for England ! Farewell, dear mother. si 

King. Thy loving father, Hamlet. 

Ham. My mother : father and mother is man and 
wife ; man and wife is one flesh ; and so, my mother. 
Come, for England ! [Exit. 

King. Follow him at foot ; tempt him with speed 
aboard ; 
Delay it not ; I'll have him hence to-night : 
Away ! for every thing is seal'd and done 
That else leans on the affair : pray you, make haste. 
[Exeunt Rosencrantz and Guildenstern. 
And, England, if my love thou hold'st at aught — 60 
As my great power thereof may give thee sense, 
Since yet thy cicatrice looks raw and red 
After the Danish sword, and thy free awe 
Pays homage to us — thou mayst not coldly set 
Our sovereign process ; which imports at full, 
By letters congruing to that effect. 
The present death of Hamlet. Do it, England ; 
For like the hectic in my blood he rages. 
And thou must cure me : till I know 'tis done, 
Howe'er my haps, my joys were ne'er begun. [Exit. 



I06 HAMLET. 

Scene IV. A plain in Denmark. 
Enter Fortinbras, a Captain, and Soldiers marching. 

Fort. Go, captain, from me greet the Danish king ; 
Tell him that by his license Fortinbras 
Craves the conveyance of a promised march 
Over his kingdom. You know the rendezvous. 
If that his majesty would aught with us, 
We shall express our duty in his eye; 
And let him know so. 

Capt. I will do't, my lord. 

Fort. Go softly on. 

\Exeunt Fortinbras a7id Soldiers. 

Enter Hamlet, Rosencrantz, Guildenstern, 
ajtd others. 

Ham. Good sir, whose powers are these .■* 

Capt. They are of Norway, sir. lo 

Ham. How purposed, sir, I pray you .'' 

Capt. Against some part of Poland. 

Ham. Who commands them, sir 1 

Capt. The nephew to old Norway, Fortinbras. 

Ham. Goes it against the main of Poland, sir, 

Or for some frontier .-' 

Capt. Truly to speak, and with no addition, 

We go to gain a little patch of ground 

That hath in it no profit but the name. 

To pay live ducats, five, I would not farm it; 20 

Nor will it yield to Norway or the Pole 



ACT IV. SCENE IV. IO7 

A ranker rate, should it be sold in fee. 

Ham. Why, then the Polack never will defend it. 

Capt. Yes, it is already garrison 'd. 

Ham. Two thousand souls and twenty thousand 
ducats 
Will not debate the question of this straw: 
This is the imposthume of much wealth and peace, 
That inward breaks, and shows no cause without 
Why the man dies. I humbly thank you, sir. 29 

Capt. God be wi' you, sir. \Exit. 

Ros. Will 't please you go, my lord .'' 

Ham. I '11 be with you straight. Go a little before. 

{Exeunt all but Hamlet. 
How all occasions do inform against me, 
And spur my dull revenge ! What is a man, 
If his chief good and market of his time 
Be but to sleep and feed.'' a beast, no more. 
Sure, he that made us with such large discourse. 
Looking before and after, gave us not 
That capability and god-like reason 
To fust in us unused. Now, whether it be 
Bestial oblivion, or some craven scruple 40 

Of thinking too precisely on the event, 
A thought which, quarter'd, hath but one part wisdom 
And ever three parts coward, I do not know 
Why yet I live to say ' This thing's to do; ' 
Sith I have cause and will and strength and means 
To do't. Examples gross as earth exhort me : 
Witness this army of such mass and charge 



I08 HAMLET. 

Led by a delicate and tender prince, 

Whose spirit with divine ambition puff' d 

Makes mouths at the invisible event, so 

Exposing what is mortal and unsure 

To all that fortune, death and danger dare, 

Even for an egg-shell. Rightly to be great 

Is not to stir without great argument. 

But greatly to find quarrel in a straw 

When honor's at the stake. How stand I then, 

That have a father kill'd, a mother stain'd. 

Excitements of my reason and my blood. 

And let all sleep .'' while to my shame I see 

The imminent death of twenty thousand men, 60 

That, for a fantasy and trick of fame. 

Go to their graves like beds, fight for a plot 

Whereon the numbers cannot try the cause, 

Which is not tomb enough and continent 

To hide the slain .■* O, from this time forth. 

My thoughts be bloody, or be nothing worth ! [Exit. 

Scene V. Elsinore. A rootn in the castle. 

Ejiter Queen, Horatio, and a Gentleman. 

Queen. I will not speak with her. 
Gent. She is importunate, indeed distract : 
Her mood will needs be pitied. 

Queen. What would she have .-* 

Gent. She speaks much of her father ; says she 
hears 



ACT IV. SCENE V. 109 

There's tricks i' the world, and hems and beats her 

heart, 
Spurns enviously at straws; speaks things in doubt, 
That carry but half sense: her speech is nothing, 
Yet the unshaped use of it doth move 
The hearers to collection; they aim at it. 
And botch the words up fit to their own thoughts; 10 
Which, as her winks and nods and gestures yield 

them. 
Indeed would make one think there might be thought, 
Though nothing sure, yet much unhappily. 

Hor. 'Twere good she were spoken with; for she 

may strew 
Dangerous conjectures in ill-breeding minds. 

Queen. Let her come in. [^Exit Gentleman. 

[Aside] To my sick soul, as sin's true nature is, 
Each toy seems prologue to some great amiss : 
So full of artless jealousy is guilt, 
It spills itself in fearing to be spilt, 20 

Re-enter Gentleman, with Ophelia. 

Oph. Where is the beauteous majesty of Denmark? 
Queen. How now, OpheHa ! 
Oph. \_Sings] 

How should I your true love know 

From another one .'' 
By his cockle hat and staff, 
And his sandal shoon. 
Queen. Alas, sweet lady, what imports this song .-* 



I lo HAMLET. 

Oph, Say you ? nay, pray you, mark. 
\Sings\ He is dead and gone, lady. 

He is dead and gone; 30 

At his head a grass-green turf. 
At his heels a stone. 

Oh, oh ! 

Queen. Nay, but, Ophelia, — 
Oph. Pray you, mark. 

\Sings\ White his shroud as the mountain snow. — 

Enter King. 

Queen. Alas, look here, my lord. 
Oph. [^Sings'\ 

Larded with sweet flowers; 
Which bewept to the grave did go 
With true-love showers. 

King. How do you, pretty lady .? 39 

Oph. Well, God 'ildyou! They say the owl was a 
baker's daughter. Lord, we know what we are, but 
know not what we may be. God be at your table! 

King. Conceit upon her father. 

Oph. Pray you, let's have no words of this; but 
when they ask you what it means, say you this : 

\Sings'\ To-morrow is Saint Valentine's day, 
All in the morning betime, 
And I a maid at your window. 
To be your Valentine. 



ACT IV. SCENE V. HI 

King. How long hath she been thus? 50 

OpJi. I hope all will be well. We must be patient: 
but I cannot choose but weep, to think they should 
lay him i' the cold ground. My brother shall know 
of it: and so I thank you for your good counsel. 
Come, my coach! Good night, ladies; good night, 
sweet ladies ; good night, good night. {Exit. 

King. Follow her close; give her good watch, I 
pray you. {Exit Horatio. 

O, this is the poison of deep grief; it springs 
All from her father's death. O Gertrude, Gertrude, 
When sorrows come, they come not single spies, 60 
But in battalions. First, her father slain : 
Next, your- son gone ; and he most violent author 
Of his own just remove : the people muddied, 
Thick and unwholesome in their thoughts and whis- 
pers, 
For good Polonius' death ; and we have done but 

greenly. 
In hugger-mugger to inter him : poor Ophelia 
Divided from herself and her fair judgement, 
Without the which we are pictures, or mere beasts : 
Last, and as much containing as all these, 
Her brother is in secret come from France ; 70 

Feeds on his wonder, keeps himself in clouds, 
And wants not buzzers to infect his ear 
With pestilent speeches of his father's death ; 
Wherein necessity, of matter beggar'd. 
Will nothing stick our person to arraign 



1 1 2 HAMLET. 

In ear and ear. O my dear Gertrude, this, 

Like to a murdering-piece, in many places 

Gives me superfluous death. \A noise within. 

Queen. Alack, what noise is this? 

King. Where are my Switzers } Let them guard 
the door. 

Enter another Gentleman. 

What is the matter } 

Gent. Save yourself, my lord : so 

The ocean, overpeering of his list. 
Eats not the flats with more impetuous haste 
Than young Laertes, in a riotous head, 
O'erbears your officers. The rabble call him lord ; 
And, as the world were now but to begin, 
Antiquity forgot, custom not known, 
The ratifiers and props of every word, 
They cry ' Choose we : Laertes shall be king ! ' 
Caps, hands and tongues applaud it to the clouds : 
* Laertes shall be king, Laertes king ! ' 90 

Queen. How cheerfully on the false trail they 
cry ! 
O, this is counter, you false Danish dogs ! 

King. The doors are broke. [^Noise within. 

Enter Laertes, armed ; Danes following. 

Laer. Where is this king .'' Sirs, stand you all 

without. 
Danes. No, let's come in. 



ACT IV. SCENE V. II3 

Laer. I pray you, give me leave. 

Danes. We will, we will. [^They retire without 
the door. 

Laer. I thank you : keep the door. O thou vile 
king, 
Give me my father ! 

Queen. Calmly, good Laertes. 

King. What is the cause, Laertes, 
That thy rebellion looks so giant-like .'' 100 

Let him go, Gertrude ; do not fear our person : 
There's such divinity doth hedge a king. 
That treason can but peep to what it would, 
Acts little of his will. Tell me, Laertes, 
Why thou art thus incensed. Let him go, Gertrude. 
Speak, man. 

Laer. Where is my father } 

King. Dead. 

Queen. But not by him 

King. Let him demand his fill. 

Laer. How came he dead.-* I'll not be juggled 
with : 
To hell, allegiance ! vows, to the blackest devil ! no 
Conscience and grace, to the profoundest pit ! 
I dare damnation. To this point I stand, 
That both the worlds I give to negligence. 
Let come what comes ; only I'll be revenged 
Most throughly for my father. 

King. Who shall stay you } 

Laer. My will, not at all the world : 



114 HAMLET. 

And for my means, I'll husband them so well, 
They shall go far with little. 

King. Good Laertes, 

If you desire to know the certainty 
Of your dear father's death, is't writ in your revenge, 
That, swoopstake, you will draw both friend and 
foe, 121 

Winner and loser ? 

Laer. None but his enemies. 

Kiftg. Will you know them then ? 

Laer. To his good friends thus wide I'll ope my 
arms ; 
And like the kind life-rendering pelican. 
Repast them with my blood. 

King. Why, now you speak 

Like a good child and a true gentleman. 
That I am guiltless of your father's death, 
And am most sensibly in grief for it, 
It shall as level to your judgement pierce 130 

As day does to our eye. 

Danes. [ Wilkin] Let her come in. 

Laer. How now ! what noise is that .■* 

Re-enter Ophelia. 

O heat, dry up my brains ! tears seven times salt, 
Burn out the sense and virtue of mine eye ! 
By heaven, thy madness shall be paid with weight, 
Till our scale turn the beam. O rose of May ! 
Dear maid, kind sister, sweet Ophelia ! 



ACT IV. SCENE V. I15 

O heavens ! is't possible, a young maid's wits * 

Should be as mortal as an old man's life ? 

Nature is fine in love, and where 'tis fine, mo 

It sends some precious instance of itself 

After the thing it loves. 

Oph. l^Sittgs'] 

They bore him barefaced on the bier ; 
Hey non nonny, nonny, hey nonny ; 
And in his grave rain'd many a tear, — 
Fare you well, my dove ! 

Laej\ Hadst thou thy wits, and didst persuade 
revenge, 
It could not move thus. 

Oph. \^Sings] You must sing a-down a-down, 

An you call him a-down-a. 150 

O, how the wheel becomes it ! It is the false stew- 
ard, that stole his master's daughter. 

Laer. This nothing's more than matter. 

Oph. There's rosemary, that's for remembrance ; 
pray, love, remember : and there is pansies, that's 
for thoughts. 

Laer. A document in madness, thoughts and re- 
membrance fitted. 

Oph. There's fennel for you, and columbines : 
there's rue for you ; and here's some for me : we 
may call it herb of grace o' Sundays : O, you must 
wear your rue with a difference. There's a daisy : I 
would give you some violets, but they withered all 
when my father died : they say he made a good 
end, — 165 



Il6 HAMLET. 

\Sings\ For bonny sweet Robin is all my joy. 
Laer. Thought and affliction, passion, hell itself. 
She turns to favor and to prettiness. 

Oph. \Sings\ And will a' not come again ? 170 

And will a' not come again ? 
No, no, he is dead : 
Go to thy death-bed : 
He never will come again. 
His beard was as white as snow. 
All flaxen was his poll : 
He is gone, he is gone, 
And we cast away moan : 
God ha' mercy on his soul ! 
And of all Christian souls, I pray God. God be wi' 
you. \Exit. 

Laer. Do you see this, O God 1 iSi 

King. Laertes, I must commune with your grief, 
Or you deny me right. Do but apart, 
Make choice of whom your wisest friends you will. 
And they shall hear and judge 'twixt you and me : 
If by direct or by collateral hand 
They find us touch'd, we will our kingdom give. 
Our crown, our life, and all that we call ours, 
To you in satisfaction ; but if not. 
Be you content to lend your patience to us, 19° 

And we shall jointly labor with your soul 
To give it due content. 

Laer. Let this be so; 

His means of death, his obscure funeral, 



ACT IV. SCENE VI. II7 

No trophy, sword, nor hatchment o'er his bones. 
No noble rite nor formal ostentation, 
Cry to be heard, as 'twere from heaven to earth, 
That I must call't in question. 

King So you shall; 

And where the offence is let the great axe fall. 
I pray you, go with me. [Exeunt. 

Scene VI. Another room in the castle. 
Enter Horatio and a Servant. 

Hor. What are they that would speak with me } 
Serv. Sea-faring men, sir: they say they have 
letters for you. 

Hor. Let them come in. {Exit Servant. 

I do not know from what part of the world 
I should be greeted, if not from Lord Hamlet. 

Enter Sailors. 

First Sail. God bless you, sir. 

Hor. Let him bless thee too. 

First Sail. He shall, sir, an't please him. There's 
a letter for you, sir: it comes from the ambassador 
that was bound for England; if your name be Ho- 
ratio, as I am let to know it is. 12 

Hor. \Reads'\ ' Horatio, when thou shalt have over- 
looked this, give these fellows some means to the 
king: they have letters for him. Ere we were two 
days old at sea, a pirate of very warlike appointment 
gave us chase. Finding ourselves too slow of sail, we 



Il8 HAMLET. 

put on a compelled valor, and in the grapple I 
boarded them: on the instant they got clear of our 
ship; so I alone became their prisoner. They have 
dealt with me like thieves of mercy: but they knew 
what they did; I am to do a good turn for them. 
Let the king have the letters I have sent; and repair 
thou to me with as much speed as thou wouldest fly 
death. I have words to speak in thine ear will make 
thee dumb; yet are they much too light for the bore 
of the matter. These good fellows will bring thee 
where I am. Rosencrantz and Guildenstern hold 
their course for England : of them I have much to tell 
thee. Farewell. He that thou knowest thine, 30 

Hamlet. ' 
Come, I will make you way for these your letters; 
And do't the speedier, that you may direct me 
To him from whom you brought them. {^Exeunt. 

Scene VH. Another room in the castle. 

Enter King aiid Laertes. 

King. Now must your conscience my acquittance 
seal, 
And you must put me in your heart for friend, 
Sith you have heard, and with a knowing ear, 
That he which hath your noble father slain 
Pursued my life. 

Laer. It well appears : but tell me 



ACT IV. SCENE VIL 



119 



Why you proceeded not against these feats, 
So crimeful and so capital in nature, 
As by your safety, wisdom, all things else, 
You mainly were stirr'd up. 

King. O, for two special reasons; 

Which may to you perhaps seem much unsinew'd, 10 
But yet to me they are strong. The queen his 

mother 
Lives almost by his looks; and for myself — 
My virtue or my plague, be it either which — 
She's so conjunctive to my life and soul, 
That, as the star moves not but in his sphere, 
I could not but by her. The other motive, 
Why to a public count I might not go, 
Is the great love the general gender bear him ; 
Who dipping all his faults in their affection, 
Would, like the spring that turneth wood to stone, 20 
Convert his gyves to graces ; so that my arrows. 
Too slightly timber'd for so loud a wind. 
Would have reverted to my bow again. 
And not where I had aim'd them. 

Laer. And so have I a noble father lost; 
A sister driven into desperate terms. 
Whose worth, if praises may go back again, 
Stood challenger on mount of all the age 
For her perfections : but my revenge will come. 

King. Break not your sleeps for that : you must 
not think 30 

That we are made of stuff so flat and dull 



I20 HAMLET. 

That we can let our beard be shook with danger 
And think it pastime. You shortly shall hear more. 
I loved your father, and we love ourself ; 
And that, I hope, will teach you to imagine — 

Enter a Messenger. 

How now ! what news .'' 

Mess. Letters, my lord, from Hamlet ; 

This to your majesty; this to the queen. 

King. From Hamlet ! who brought them } 

Mess. Sailors, my lord, they say; I saw them not : 
They were given me by Claudio ; he received them 40 
Of him that brought them. 

King. Laertes, you shall hear them. 

Leave us. \Exit Messenger. 

\Reads'\ 'High and mighty, You shall know I am 
set naked on your kingdom. To-morrow shall I beg 
leave to see your kingly eyes : when I shall, first ask- 
ing your pardon thereunto, recount the occasion of 
my sudden and more strange return. Hamlet.' 
What should this mean t Are all the rest come 

back ? 
Or is it some abuse, and no such thing t 

Lacr. Know you the hand } 

King. 'Tis Hamlet's character. ' Naked ! ' 

And in a postscript here, he says * alone. ' 51 

Can you advise me .-* 

Laer. I'm lost in it, my lord. But let him come ; 
It warms the very sickness in my heart, 



ACT IV. SCENE VII. 12 1 

That I shall live and tell him to his teeth, 
'Thus didest thou.' 

King. If it be so, Laertes — 

As how should it be so ? how otherwise ? — 
Will you be ruled by me ? 

Laej\ Ay, my lord ; 

So you will not o'errule me to a peace. 

King. To thine own peace. If he be now return'd, 
As checking at his voyage, and that he means 6i 

No more to undertake it, I will work him 
To an exploit now ripe in my device, 
Under the which he shall not choose but fall: 
And for his death no wind of blame shall breathe, 
But even his mother shall uncharge the practice 
And call it accident. 

Laer. My lord, I will be ruled; 

The rather, if you could devise it so 
That I might be the organ. 

King. It falls right. 

You have been talked of since your travel much, 70 
And that in Hamlet's hearing, for a quality 
Wherein, they say, you shine: your sum of parts 
Did not together pluck such envy from him 
As did that one, and that in my regard 
Of the unworthiest siege. 

Laer. What part is that, my lord ? 

King. A very riband in the cap of youth, 
Yet needful too ; for youth no less becomes 
The light and careless livery that it wears 



122 HAMLET. 

Than settled age his sables and his weeds, 
Importing health and graveness. Two months since, 
Here was a gentleman of Normandy : — si 

I've seen myself, and served against, the French, 
And they can well on horseback ; but this gallant 
Had witchcraft in 't ; he grew unto his seat. 
And to such wondrous doing brought his horse. 
As had he been incorpsed and demi-natured 
With the brave beast : so far he topp'd my thought 
That I, in forgery of shapes and tricks. 
Came short of what he did. 

Laer. A Norman was't ? 

King. A Norman. 91 

Laer. Upon my life, Lamond. 

King. The very same. 

Laer. I know him well : he is the brooch indeed 
And gem of all the nation. 

King. He made confession of you. 
And gave you such a masterly report 
For art and exercise in your defence 
And for your rapier most especial, 
That he cried out, 'twould be a sight indeed 
If one could match you : the scrimers of their nation. 
He swore, had neither motion, guard, nor eye, 100 
If you opposed them. Sir, this report of his 
Did Hamlet so envenom with his envy 
That he could nothing do but wish and beg 
Your sudden coming o'er, to play with him. 
Now, out of this — 



ACT IV. SCENE VII. 1 23 

Laer. What out of this, my lord ! 

King. Laertes, was your father dear to you ? 
Or are you Hke the painting of a sorrow, 
A face without a heart ? 

Laer. Why ask you this ? 

King. Not that I think you did not love your father ; 
But that I know love is begun by time, no 

And that I see, in passages of proof, 
Time qualifies the spark and fire of it. 
There lives within the very flame of love 
A kind of wick or snuff that will abate it ; 
And nothing is at a like goodness still, 
For goodness, growing to a plurisy, 
Dies in his own too much : that we would do 
We should do when we would ; for this 'would' changes 
And hath abatements and delays as many 
As there are tongues, are hands, are accidents ; 120 
And then this ' should ' is like a spendthrift sigh. 
That hurts by easing. But to the quick o' the ulcer : 
Hamlet comes back ; what would you undertake, 
To show yourself your father's son in deed 
More than in words } 

Laer. To cut his throat i' the church. 

King. No place indeed should murder sanctuarize : 
Revenge should have no bounds. But, good Laertes, 
Will you do this, keep close within your chamber. 
Hamlet return'd shall know you are come home : 
We '11 put on those shall praise your excellence 130 
And set a double varnish on the fame 



124 



HAMLET. 



The Frenchman gave you, bring you in fine together, 

And wager on your heads : he, being remiss, 

Most generous and free from all contriving. 

Will not peruse the foils ; so that with ease. 

Or with a little shuffling, you may choose 

A sword unbated, and in a pass of practice 

Requite him for your father. 

Laer. I will do 't : 

And for that purpose I '11 anoint my sword. 
I bought an unction of a mountebank, 140 

So mortal that but dip a knife in it, 
Where it draws blood no cataplasm so rare, 
Collected from all simples that have virtue 
Under the moon, can save the thing from death 
That is but scratch'd withal : I '11 touch my point 
With this contagion, that, if I gall him slightly. 
It may be death. 

King. Let's further think of this ; 

Weigh what convenience both of time and means 
May fit us to our shape : if this should fail, 
And that our drift look through our bad performance, 
'Twere better not assay'd : therefore this project 151 
Should have a back or second, that might hold 
If this did blast in proof. Soft ! let me see : 
We '11 make a solemn wager on your cunnings : 
I ha't : 

When in your motion you are hot and dry — 
As make your bouts more violent to that end — 
And that he calls for drink, I'll have prepared him 



ACT IV. SCENE VII. 



125 



A chalice for the nonce, whereon but sipping, 

If he by chance escape your venom'd stuck, 160 

Our purpose may hold there. But stay, what noise ? 

Enter Queen. 
How now, sweet queen ! 

Queen. One woe doth tread upon another's heel. 
So fast they follow : your sister's drown'd, Laertes. 

Laer. Drown'd ! O, where ? 

Queen. There is a willow grows aslant a brook. 
That shows his hoar leaves in the glassy stream ; 
There with fantastic garlands did she come 
Of crow-flowers, nettles, daisies, and long purples 
That liberal shepherds give a grosser name, 170 

But our cold maids do dead men's fingers call them : 
There, on the pendent boughs her coronet weeds 
Clambering to hang, an envious sliver broke ; 
When down her weedy trophies and herself 
Fell in the weeping brook. Her clothes spread wide • 
And mermaid-like awhile they bore her up : 
Which time she chanted snatches of old tunes ; 
As one incapable of her own distress, 
Or like a creature native and indued 
Unto that element : but long it could not be iso 

Till that her garments, heavy with their drink, 
PuU'd the poor wretch from her melodious lay 
To muddy death. 

Laer. Alas, then she is drown'd } 

Queen. Drown'd, drown'd. 

Laer. Too much of water hast thou, poor Ophelia, 



126 HAMLET. 

And therefore I forbid my tears : but yet 

It is our trick ; nature her custom holds, 

Let shame say what it will : when these are gone, 

The woman will be out. Adieu, my lord : 

I have a speech of fire, that fain would blaze, 190 

But that this folly douts it. \Exit. 

King. Let's follow, Gertrude : 

How much I had to do to calm his rage ! 
Now fear I this will give it start again ; 
Therefore let's follow. [ Exeunt. 

ACT V. 

Scene I. A Churchyard. 
Enter two Clowns, with spades, &c. 

First Clo. Is she to be buried in Christian burial 
that wilfully seeks her own salvation .'' 

Second Clo. I tell thee she is ; and therefore make 
her grave straight : the crowner hath sat on her, and 
finds it Christian burial. 

First Clo. How can that be, unless she drowned 
herself in her own defence .■* 

Second Clo. Why 'tis found so. 

First Clo. It must be ' se offendendo ' ; it cannot 
be else. For here lies the point : if I drown myself 
wittingly, it argues an act : and an act hath three 
branches ; it is, to act, to do, and to perform : argal, 
she drowned herself wittingly. 

Second Clo. Nay, but hear you, goodman delver. 



ACT V. SCENE I. 12/ 

First Clo. Give me leave. Here lies the water ; 
good ; here stands the man ; good : if the man go 
to this w^ater and drown himself, it is, will he, nill he, 
he goes ; mark you that ; but if the water come to 
him and drown him, he drowns not himself : argal, he 
that is not guilty of his own death, shortens not his 
own life. 21 

Second Clo. But is this law ? 

First Clo. Ay, marry, is't; crowner's quest law. 

Second Clo. Will you ha' the truth on't .'' If this 
had not been a gentlewoman, she should have been 
buried out o' Christian burial. 

First Clo. Why, there thou say'st : and the more 
pity that great folk should have countenance in this 
world to drown or hang themselves, more than their 
even Christian. Come, my spade. There is no 
ancient gentlemen but gardeners, ditchers and grave- 
makers : they hold up Adam's profession. 32 

Second Clo. Was he a gentleman } 

First Clo. A'was the first that ever bore arms. 

Second Clo. Why, he had none. 

First Clo. What, art a heathen 1 How dost thou 
understand the Scripture .-' The Scripture says Adam 
digged : could he dig without arms i I'll put another 
question to thee : if thou answerest me not to the 
purpose, confess thyself — 40 

Second Clo. Go to. 

First Clo. What is he that builds stronger than 
either the mason, the shipwright, or the carpenter ? 



128 HAMLET. 

Second Clo. The gallows-maker ; for that frame 
outlives a thousand tenants. 

First Clo. I like thy wit well, in good faith : the 
gallows does well ; but how does it well ? it does well 
to those that do ill : now thou dost ill to say the 
gallows is built stronger than the church : argal, the 
gallows may do well to thee. To't again, come. 50 
Second Clo. ' Who builds stronger than a mason, a 
shipwright, or a carpenter .'' ' 

First Clo. Ay, tell me that, and unyoke. 
Second Clo. Marry, now I can tell. 
First Clo. To't. 
Second Clo. Mass, I cannot tell. 

Enter Hamlet and Horatio, afar off. 
First Clo. Cudgel thy brains no more about it, for 
your dull ass will not mend his pace with beating; and, 
when you are asked this question next, say ' a grave- 
maker' : the houses that he makes last till doomsday. 
Go, get thee to Yaughan : fetch me a stoup of liquor. 

\Exit Second Clown. 
\He digs, ajtd sings'] 

In youth, when I did love, did love, 62 

Methought it was very sweet, 
To contract, O, the time, for-a my behove, 
O, methought, there-a was nothing-a meet. 
Ham. Has this fellow no feeling of his business, 
that he sings at grave-making } 

Hor. Custom hath made it in him a property of 
easiness. 



ACT V. SCENE L 



129 



Ham. 'Tis e'en so : the hand of httle employment 
hath the daintier sense. 71 

First Clo. \Sings\ 

But age, with his stealing steps, 
Hath claw'd me in his clutch. 
And hath shipped me intil the land. 
As if I had never been such. 

\TJirows up a sktill. 

Ham. That skull had a tongue in it, and could sing 
once : how the knave jowls it to the ground, as if it 
were Cain's jaw-bone, that did the first murder ! It 
might be the pate of a politician, which this ass now 
o'er-reaches; one that would circumvent God, might 
it not } 81 

Hor. It might, my lord. 

Ham. Or of a courtier; which could say ' Good- 
morrow, sweet lord ! How dost thou, sweet lord 1 ' 
This might be my lord such-a-one, that praised my 
lord such-a-one's horse, when he meant to beg it; 
might it not ? 

Hor. Ay, my lord. 88 

Ham. Why, e'en so : and now my Lady Worm's; 
chapless, and knocked about the mazzard with a 
sexton's spade : here's fine revolution, an we had the 
trick to see't. Did these bones cost no more the 
breeding, but to play at loggats with'em .-' mine ache 
to think on't. 

First Clo. \Sings'\ 



1 30 HAMLET. 

A pick-axe, and a spade, a spade, 

For and a shrouding sheet : 
O, a pit of clay for to be made 

For such a guest is meet. 98 

yrJiroivs up ajiother skull. 

Ham. There's another : why may not that be the 
skull of a lawyer ? Where be his quiddities now, his 
quillets, his cases, his tenures, and his tricks ? why 
does he suffer this rude knave now to knock him 
about the sconce with a dirty shovel, and will not 
tell him of his action of battery ? Hum ! This fellow 
might be in's time a great buyer of land, with his 
statutes, his recognizances, his fines, his double 
vouchers, his recoveries : is this the fine of his fines, 
and the recovery of his recoveries, to have his fine 
pate full of fine dirt ? will his vouchers vouch him no 
more of his purchases, and double ones too, than the 
length and breadth of a pair of indentures ? The very 
conveyances of his lands will hardly lie in this box; 
and must the inheritor himself have no more, ha ? 

Hor. Not a jot more, my lord. 114 

Ham. Is not parchment made of sheep-skins .-' 

Hor. Ay, my lord, and of calf-skins too. 

Ham. They are sheep and calves which seek out 
assurance in that. I will speak to this fellow. Whose 
grave's this, sirrah } 

First Clo. Mine, sir. 

\Sings'\ O, a pit of clay for to be made 
For such a guest is meet. 



ACT V. SCENE I. 



131 



Ham. I think it be thine, indeed : for thou hest in't. 

First Clo. You he out on't sir, and therefore 'tis 
not yours : for my part, I do not He in't, and yet it is 
mine. 

Ham. Thou dost He in't, to be in't and say it is 
thine : 'tis for the dead, not for the quick ; therefore 
thou Hest. 

First Clo. 'Tis a quick He, sir ; 'twiH away again 
from me to you. 131 

Ham. What man dost thou dig it for } 

First Clo. For no man, sir. 

Ham. What woman, then .'' 

First Clo. For none, neither. 

Ham. Who is to be buried in't .■" 

First Clo. One that was a woman, sir; but, rest 
her soul, she's dead. 

Ham. How absolute the knave is ! we must speak 
by the card, or equivocation will undo us. By the 
Lord, Horatio, this three years I have taken note of 
it ; the age is grown so picked that the toe of the 
peasant comes so near the heel of the courtier, he 
galls his kibe. How long hast thou been a grave- 
maker .'' 

First Clo. Of all the days i' the year, I came to't 
that day that our last king Hamlet overcame For- 
tinbras. 

Ham. How long is that since } 

First Clo. Cannot you tell that .'' every fool can tell 
that : it was the very day that young Hamlet was 
born; he that is mad, and sent into England, 152 



132 HAMLET. 

Hajn. Ay, marry, why was he sent into England ? 

First Clo. Why, because a' was mad: a' shall 
recover his wits there ; or, if a' do not, it's no great 
matter there. 

Ham. Why ? 

First Clo. 'Twill not be seen in him there ; there 
the men are as mad as he. 

Ham. How came he mad .'* i6o 

First Clo. Very strangely they say. 

Ham. How ' strangely ' .■* 

First Clo. Faith, e'en with losing his wits. 

Ham. Upon what ground .'' 

First Clo. Why, here in Denmark : I have been 
sexton here, man and boy, thirty years. 

Ham. How long will a man lie i' the earth ere 
he rot } 

First Clo. I ' faith, if a' be not rotten before a' die, 
a' will last you some eight year or nine year : a tan- 
ner will last you nine year. 171 

Ham. Why he more than another.'' 

First Clo. Why, sir, his hide is so tanned with his 
trade, that a' will keep out water a great while; and 
your water is a sore decayer of your dead body. 
Here's a skull now : this skull has lain in the earth 
three and twenty years. 

Ham. Whose was it .? 

First Clo. A mad fellow's it was : whose do you 
think it was .'' iSo 

Ham. Nay, I know not. 



ACT V. SCENE I. 



133 



Fij'St Clo. A pestilence on him for a mad rogue ! 
a' poured a flagon of Rhenish on my head once. This 
same skull, sir, was Yorick's skull, the king's jester. 

Ham. This .'' 

First Clo. E'en that. 

Ham. Let me see. [ Takes the skull. ] Alas, 
poor Yorick ! I knew him, Horatio : a fellow of inlinite 
jest, of most excellent fancy : he hath borne me on 
his back a thousand times ; and now how abhorred in 
my imagination it is ! my gorge rises at it. Here 
hung those lips that I have kissed I know not how 
oft. Where be your gibes now .-' your gambols i your 
songs .'' your flashes of merriment, that were wont to 
set the table on a roar t Not one now, to mock your 
own grinning .-' quite chop-fallen } Now get you to my 
lady's chamber, and tell her, let her paint an inch 
thick, to this favor she must come ; make her 
laugh at that. Prithee, Horatio, tell me one thing. 

Hor. What's that, my lord .'' 200 

Ham. Dost thou think Alexander look'd o' this 
fashion i' the earth } 

Hor. E'en so. 

Ham. And smelt so .'^ pah ! [ Puts dozvn the skull. 

Hor. E'en so, my lord. 

Ham. To what base uses we may return, Horatio ! 
Why may not imagination trace the noble dust of 
Alexander, till he find it stopping a bung-hole } 

Hor. 'Twere to consider too curiously, to consider so. 

Ham. No, faith, not a jot ; but to follow him 



134 



HAMLET. 



thither with modesty enough, and hkeHhood to lead 
it : as thus : Alexander died, Alexander was buried, 
Alexander returneth into dust ; the dust is earth ; of 
earth we make loam ; and why of that loam, whereto 
he was converted, might they not stop a beer-barrel ? 
Imperious Caesar, dead and turn'd to clay, 
Might stop a hole to keep the wind away : 
O, that that earth, which kept the world in awe. 
Should patch a wall to expel the winter's flaw ! 
But soft ! but soft ! aside : here comes the king. 220 
Enter Priests, &c., in procession ; the corpse of 
Ophelia^ Laertes and Mourners following ; 
King, Queen, tJieir trains, &c. 
The queen, the courtiers : who is this they follow ? 
And with such maimed rites? This doth betoken 
The corse they follow did with desperate hand 
Fordo its own life : 'twas of some estate. 
Couch we awhile, and mark. 

[Retiring with Horatio. 
Laer. What ceremony else } 

Ham. That is Laertes, a very noble youth : mark. 
Laer. What ceremony else .'' 228 

First Priest. Her obsequies have been as far 
enlarged 
As we have warrantise : her death was doubtful ; 
And, but that great command o'ersways the order, 
She should in ground unsanctified have lodged 
Till the last trumpet ; for charitable prayers. 
Shards, flints and pebbles should be thrown on her: 



ACT V. SCENE I. 



135 



Yet here she is allow'd her virgin crants, 

Her maiden strewments and the bringing home 

Of bell and burial. 

Laer. Must there no more be done ? 

First Priest. No more be done : 

We should profane the service of the dead 
To sing a requiem and such rest to her 24c 

As to peace-parted souls. 

Laer. Lay her i' the earth : 

And from her fair and unpolluted flesh 
May violets spring ! I tell thee, churlish priest, 
A ministering angel shall my sister be, 
When thou liest howling. 

Ham. What, the fair Ophelia ! 

Queen. Sweets to the sweet : farewell 1 

\Scattering flowers. 
I hoped thou shouldst have been my Hamlet's wife; 
I thought thy bride-bed to have deck'd, sweet maid, 
And not have strew'd thy grave. 

Laer. O, treble woe 

Fall ten times treble on that cursed head, 250 

Whose wicked deed thy most ingenious sense 
Deprived thee of ! Hold off the earth awhile, 
Till I have caught her once more in mine arms : 

\Leaps into the grave. 
Now pile your dust upon the quick and dead, 
Till of this flat a mountain you have made. 
To o'ertop old Pelion, or the skyish head 
Of blue Olympus. 



1 36 HAMLET. 

Ham. {Advancing.'] What is he whose grief 
Bears such an emphasis ? whose phrase of sorrow 
Conjures the wandering stars, and makes them stand 
Like wonder-wounded hearers ? This is I, 261 

Hamlet the Dane. [Leaps into the grave. 

Laer. The devil take thy soul ! 

\Grappling with him. 

Ham. Thou pray'st not well. 
I prithee, take thy fingers from my throat; 
For, though I am not splenitive and rash. 
Yet have I something in me dangerous, 
Which let thy wisdom fear : hold off thy hand. 

King. Pluck them asunder. 

Queen. Hamlet, Hamlet ! 

All. Gentlemen, — 270 

Hor. Good my lord, be quiet. 
\TJie attendants part them, and they come out of the 
grave.'] 

Ham. Why, I will fight with him upon this theme 
Until my eyelids will no longer wag. 

Queen. O my son, what theme } 

Ham. I loved Ophelia ; forty thousand brothers 
Could not, with all their quantity of love, 
^ake up my sum. What wilt thou do for her } 

King. O, he is mad, Laertes. 

Queen. For love of God, forbear him. 

Ham. 'Swounds, show me what thou'lt do : 280 

Woo't weep .'' woo't fight .-' woo't fast } woo't tear 
thyself ? 



ACT V. SCENE I. 



137 



Woo't drink up eisel? eat a crocodile? 
I'll do't. Dost thou come here to whine? 
To outface me with leaping in her grave ? 
Be buried quick with her, and so will I : 
And, if thou prate of mountains, let them throw 
Millions of acres on us, till our ground, 
Singeing its pate against the burning zone, 
Make Ossa like a wart ! Nay, an thou'lt mouth, 
I'll rant as well as thou. 

Queen. This is mere madness : 

And thus awhile the fit will work on him; 291 

Anon, as patient as the female dove. 
When that her golden couplets are disclosed. 
His silence will sit drooping. 

Ham. Hear you, sir ; 

What is the reason that you use me thus ? 
I loved you ever : but it is no matter; 
Let Hercules himself do what he may. 
The cat will mew and dog will have his day. \Exit. 

King. I pray thee, good Horatio, wait upon him. 
\To Laertes'] [Exit Horatio. 

Strengthen your patience in our last night's speech; 
We'll put the matter to the present push. 301 

Good Gertrude, set some watch over your son. 
This grave shall have a living monument : 
An hour of quiet shortly shall we see; 
Till then, in patience our proceeding be. [Exeunt. 



138 HAMLET. 

Scene II. A hall in the castle. 
Enter Hamlet and Horatio. 

Hani. So much for this, sir : now shall you see the 
other; 
You do remember all the circumstance "i 

Hor. Remember it, my lord ! 

Ham. Sir, in my heart there was a kind of fighting. 
That would not let me sleep : methought I lay 
Worse than the mutines in the bilboes. Rashly. 
And praised be rashness for it, let us know, 
Our indiscretion sometimes serves us well, 
When our deep plots do pall : and that should learn us 
There's a divinity that shapes our ends, 10 

Rough-hew them how we will, — 

Hor. That is most certain. 

Ham. Up from my cabin, 
My sea-gown scarf'd about me, in the dark 
Groped I to find out them; had my desire, 
Finger'd their packet, and in fine withdrew 
To mine own room again; making so bold, 
My fears forgetting manners, to unseal 
Their grand commission; where I found, Horatio, — 
O royal knavery ! — an exact command. 
Larded with many several sorts of reasons =0 

Importing Denmark's health and England's too. 
With, ho ! such bugs and goblins in my life, 
That, on the supervise, no leisure bated, 
No, not to stay the grinding of the axe, 
My head should be struck off. 



ACT V. SCENE II. 1 39 

Hor. Is't possible ? 

Ham. Here's the commission : read it at more 
leisure. 
But wilt thou hear me how I did proceed ? 

Hor. I beseech you. 

Hani. Being thus be-netted round with villanies, — 
Or I could make a prologue to my brains, 30 

They had begun the play, — I sat me down, 
Devised a new commission, wrote it fair : 
I once did hold it, as our statists do, 
A baseness to write fair, and labor 'd much 
How to forget that learning, but, sir, now 
It did me yeoman's service : wilt thou know 
The effect of what I wrote .-• 

Hor. Ay, good my lord. 

Ham. An earnest conjuration from the king, 
As England was his faithful tributary, 
As love between them like the palm might flourish, 40 
As peace should still her wheaten garland wear 
And stand a comma 'tween their amities. 
And many such-like 'As'es of great charge, 
That, on the view and knowing of these contents, 
Without debatement further, more or less, 
He should the bearers put to sudden death, 
Not shriving-time allow' d. 

Hor. How was this seal'd .-' 

Ham. Why, even in that was heaven ordinant. 
I had my father's signet in my purse. 
Which was the model of that Danish seal; 50 

Folded the writ up in the form of the other, 



I40 HAMLET. 

Subscribed it, gave't the impression, placed it safely, 
The changeling never known. Now, the next day- 
Was our sea-fight ; and what to this was sequent 
Thou know'st already. 

Hor. So Guildenstern and Rosencrantz go to't. 

Ham. Why, man, they did make love to this em- 
ployment ; 
They are not near my conscience : their defeat 
Does by their own insinuati,on grow : 
'Tis dangerous when the baser nature comes 60 

Between the pass and fell incensed points 
Of mighty opposites. 

Hor. Why, what a king is this ! 

Ham. Does it not, think'st thee, stand me now 
upon — 
He that hath kill'd my king and stain'd my mother, 
Popp'd in between the election and my hopes. 
Thrown out his angle for my proper life, 
And with such cozenage — ij't not perfect conscience. 
To quit him with this arm .'' and is't not to be 

damn'd, 
To let this canker of our nature come 
In further evil t 7° 

Hor. It must be shortly known to him from Eng- 
land 
What is the issue of the business there. 

Ham. It will be short : the interim is mine ; 
And a man's life's no more than to say ' One.' 
But I am very sorry, good Horatio, 



ACT V. SCENE II. 141 

That to Laertes I forgot myself ; 

For, by the image of my cause, I see 

The portraiture of his : I '11 court his favors : 

But, sure, the bravery of his grief did put me 

Into a towering passion. 

Hor. Peace ! who comes here ? 80 

Enter OsRic. 

Osr. Your lordship is right welcome back to Den- 
mark. 

Ham. I humbly thank you, sir. Dost know this 
waterfly .'' 

Hor. No, my good lord. 

Ham. Thy state is the more gracious ; for 'tis a 
vice to know him. He hath much land, and fertile : 
let a beast be lord of beasts, and his crib shall stand 
at the king's mess : 'tis a chough ; but, as I say, spa- 
cious in the possession of dirt. 90 

Osr. Sweet lord, if your lordship were at leisure, 
I should impart a thing to you from his majesty 

Ham. I will receive it, sir, with all diligence of 
spirit. Put your bonnet to his right use ; 'tis for the 
head. 

Osr. I thank your lordship, it is very hot. 

Ham. No, believe me, 'tis very cold ; the wind is 
northerly. 

Osr. It is indifferent cold, my lord, indeed. 

Ham. But yet methinks it is very sultry and hot, 
or my complexion — joi 



142 



HAMLET. 



Osr. Exceedingly, my lord ; it is very sultry, as 
'twere, — I cannot tell how. But, my lord, his 
majesty bade me signify to you that he has laid a 
great wager on your head : sir, this is the matter — 

Ham. I beseech you, remember — io6 

\Hamlet moves him to put on his hat. 

Osr. Nay, good my lord ; for mine ease, in good 
faith. Sir, here is newly come to court Laertes ; 
believe me, an absolute gentleman, full of most excel- 
lent differences, of very soft society and great show- 
ing : indeed, to speak feelingly of him, he is the card 
or calendar of gentry, for you shall find in him the 
continent of what part a gentleman would see. ns 

Ham. Sir, his definement suffers no perdition in 
you ; though, I know, to divide him inventorially 
would dizzy the arithmetic of memory, and yet but 
yaw neither, in respect of his quick sail. But, in the 
verity of extolment I take him to be a soul of great 
article ; and his infusion of such dearth and rareness, 
as, to make true diction of him, his semblable is his 
mirror, and who else would trace him, his umbrage, 
nothing more. 122 

Osr. Your lordship speaks most infallibly of him. 

Ham. The concernancy, sir .'' why do we wrap the 
gentleman in our more rawer breath ? 

Osr. Sir? 

Hor. Is't not possible to understand in another 
tongue ? You will do't, sir, really. 



ACT V. SCENE 11. 



143 



Ham. What imports the nomination of this gen- 
tleman ? 130 

Osr. Of Laertes ? 

Hor. His purse is empty already; all's golden 
words are spent. 

Ham. Of him, sir, 

Osr. I know you are not ignorant — 

Ham. I would you did, sir; yet, in faith, if you 
did, it would not much approve me. Well, sir .<* 

Osr. You are not ignorant of what excellence 
Laertes is — 139 

Ham. I dare not confess that, lest I should com- 
pare with him in excellence ; but, to know a man 
well, were to know himself. 

Osr. I mean, sir, for his weapon ; but in the impu- 
tation laid on him by them, in his meed he's unfel- 
lowed. 

Ham. What's his weapon } 

Osr. Rapier and dagger. 

Ham. That's two of his weapons : but, well. 148 

Osr. The king, sir, hath wagered with him six 
Barbary horses : against the which he has imponed, 
as I take it, six French rapiers and poniards, with 
their assigns, as girdle, hangers, and so : three of the 
carriages, in faith, are very dear to fancy, very re- 
sponsive to the hilts, most delicate carriages, and of 
very liberal conceit. 

Ham. What call you the carriages 1 

Hor. I knew you must be edified by the margent 
ere you had done. 



144 



HAMLET. 



Osr. The carriages, sir, are the hangers. 139 

Ham. The phrase would be more germane to the 
matter, if we could carry a cannon by our sides : I 
would it might be hangers till then. But, on : six 
Barbary horses against six French swords, their 
assigns, and three liberal-conceited carriages ; that 's 
the French bet against the Danish. Why is this 
' imponed, ' as you call it .'' 

Osr. The king, sir, hath laid, sir, that in a dozen 
passes between yourself and him, he shall not exceed 
your three hits : he hath laid on twelve for nine ; and 
it would come to immediate trial, if your lordship 
would vouchsafe the answer. 171 

Ham. How if I answer ' no ' .■' 

Osr. I mean, my lord, the opposition of your 
person in trial. 

Ham. Sir, I will walk here in the hall : if it please 
his majesty, it is the breathing time of day with me ; 
let the foils be brought, the gentleman willing, and 
the king hold his purpose, I will win for him an I 
can ; if not, I will gain nothing but my shame and 
the odd hits. iSo 

Osr. Shall I redeliver you e'en so .■* 

Ham. To this effect, sir, after what flourish your 
nature will. 

Osr. I commend my duty to your lordship. 

Ham. Yours, yours. [^Exii Osru.] He does well to 
commend it himself ; there are no tongues else for's 
turn. 



ACT V. SCENE II. 



145 



Hor. This lapwing runs away with the shell on his 
head. 189 

Ham. He did comply with his dug before he sucked 
it. Thus has he — and many more of the same 
breed that I know the drossy age dotes on — only got 
the tune of the time and outward habit of encounter ; 
a kind of yesty collection, which carries them through 
and through the most fond and winnowed opinions ; 
and do but blow them to their trial, the bubbles are 

out. 197 

Enter a Lord. 

Lord. My lord, his majesty commended him to you 
by young Osric, who brings back to him, that you 
attend him in the hall : he sends to know if your 
pleasure hold to play with Laertes, or that you will 
take longer time. 

Ham. I am constant to my purposes ; they follow 
the king's pleasure : if his fitness speaks, mine is 
ready; now or whensoever, provided I be so able 
as now. 

Lord. The king and queen and all are coming 
down. 

Ham. In happy time. 209 

Lord. The queen desires you to use some gentle 
entertainment to Laertes before you fall to play. 

Ham. She well instructs me. \Exit Lord. 

Hor. You will lose this wager, my lord. 

Ham. I do not think so : since he went into France, 
I have been in continual practice ; I shall win at the 



146 HAMLET. 

odds. But thou wouldst not think how ill all's here 
about my heart : but it is no matter. 

Hor. Nay, good my lord, — 

Hani. It is but foolery ; but it is such a kind of 
gain-giving, as would perhaps trouble a woman. 220 

Hor. If your mind dislike any thing, obey it. I will 
forestal their repair hither, and say you are not fit. 

Ham. Not a whit ; we defy augury : there is special 
providence in the fall of a sparrow. If it be now, 'tis 
not to come ; if it be not to come, it will be now ; if 
it be not now, yet it will come : the readiness is all ; 
since no man has aught of what he leaves, what is't to 
leave betimes } Let be. 

Enter King, Queen, Laertes, and Lords, Osric, and 
other Attendants zvitit foils and gauntlets ; a table 
and fiagons of zvine on it. 

King. Come Hamlet, come, and take this hand 
from me. 

\The King puts Laertes' Jiand into Hamlet'' s. 

Ham. Give me your pardon, sir : I've done you 
wrong ; 230 

But pardon't as you are a gentleman. 
This presence knows, 

And you must needs have heard, how I am puni.h A 
With sore distraction. What I have done. 
That might your nature, honor and exception 
Roughly awake, I hear proclaim was madness. 



ACT V. SCENE II. 



147 



Was't Hamlet wrong'd Laertes ? Never Hamlet : 

If Hamlet from himself be ta'en away, 

And when he's not himself does wrong Laertes, 

Then Hamlet does it not, Hamlet denies it. 240 

Who does it then ? His madness : if 't be so, 

Hamlet is of the faction that is wrong'd ; 

His madness is poor Hamlet's enemy. 

Sir, in this audience, 

Let my disclaiming from a purposed evil 

Free me so far in your most generous thoughts, 

That I have shot mine arrow o'er the house. 

And hurt my brother. 

Laer. I am satisfied in nature, 

Whose motive, in this case, should stir me most 
To my revenge : but in my terms of honor 250 

I stand aloof, and will no reconcilement, 
Till by some elder masters of known honor 
I have a voice and precedent of peace, 
To keep my name ungored. But till that time, 
I do receive your offer'd love like love, 
And will not wrong it. 

Ham. I embrace it freely, 

And will this brother's wager frankly play. 
Give us the foils. Come on. 

Laer. Come, one for me. 

Ham. I'll be your foil, Laertes : in mine ignorance 
Your skill shall, like a star i' the darkest night, a6o 

Stick fiery off indeed. 

Laer. You mock me, sir. 



148 HAMLET. 

Ham. No, by this hand. 

King. Give them the foils, young Osric. Cousin 
Hamlet, 
You know the wager ? 

Ham. Very well, my lord ; 

Your grace hath laid the odds o' the weaker side. 

Ki7ig. I do not fear it ; I have seen you both : 
But since he is better'd, we have therefore odds. 

Laer. This is too heavy, let me see another. 

Ham. This likes me well. These foils have all a 
length } 

[They prepare to play. 

Osr. Ay, my good lord. 270 

King. Set me the stoups of wine upon that table. 
If Hamlet give the first or second hit. 
Or quit in answer of the third exchange, 
Let all the battlements their ordnance fire; 
The king shall drink to Hamlet's better breath; 
And in the cup an union shall he throw. 
Richer than that which four successive kings 
In Denmark's crown have worn. Give me the cups; 
And let the kettle to the trumpet speak, 
The trumpet to the cannoneer without, 280 

The cannons to the heavens, the heaven to earth, 
' Now the king drinks to Hamlet.' Come, begin : 
And you, the judges, bear a wary eye. 
Ham. Come on, sir. 

Laer. Come, my lord. [ They play. 

Ham. One. 

Laer. No. 



ACT V. SCENE II. 149 

Ham. Judgement. 

Osr. A hit, a very palpable hit. 
Laer. Well; again. 

King. Stay; give me drink. Hamlet, this pearl is 
thine; 
Here's to thy health. 

[ Trumpets sound, and cannon shot off within. 

Give him the cup. 

Ham. I'll play this bout first; set it by awhile. 
Come. {They play. '\ Another hit; what say you.? 

Laer. A touch, a touch, I do confess. 290 

King. Our son shall win. 

Queen. He's fat, and scant of breath. 

Here, Hamlet, take my napkin, rub thy brows: 
The queen carouses to thy fortune, Hamlet. 

Ham. Good madam! 

King. Gertrude, do not drink. 

Queen. I will, my lord; I pray you, pardon me. 

King. [Aside.] It is the poison'dcup; it is toolate. 

Ham. I dare not drink yet, madam; by and by. 

Queen. Come, let me wipe thy face. 

Laer. My lord, I'll hit him now. 

ICing. I do not think 't. 

Laer. [Aside.'] And yet it is almost against my con- 
science. 300 

Ham. Come, for the third, Laertes: you but dally; 
I pray you, pass with your best violence ; 
I am afeard you make a wanton of me. 

Laer. Say you so .'' come on. [They play. 



150 



HAMLET. 



Osr. Nothing, either way. 
Laer. Have at you now! 

[Laertes wounds Hamlet; tJien, in scuffling, they 
change rapiers, and Hamlet luounds Laertes. 

King. Part them; they are incensed. 

Ham. Nay, come again. The Queen falls. 

Osr. Look to the queen there, ho! 

Hor. They bleed on both sides. How is it, my lord? 

Osr. How is 't, Laertes? 

Laer. Why, as a woodcock to mine own springe, 
Osric ; 310 

I am justly kill'd with mine own treachery. 

Ham. How does the queen ? 

King. She swounds to see them bleed. 

Queen, No, no, the drink, the drink, — O my dear 
Hamlet, — 
The drink, the drink! I am poison'd. [Dies. 

Ham. O villany. Ho! let the door be lock'd: 
Treachery! Seek it out. 

Laer. It is here, Hamlet: Hamlet, thou art slain; 
No medicine in the world can do thee good; 
In thee there is not half an hour of life; 
The treacherous instrument is in thy hand, 320 

Unbated and envenom'd: the foul practice 
Hath turn'd itself on me; lo, here I lie. 
Never to rise again: thy mother's poison'd: 
I can no more : the king, the king's to blame. 

Ham. The point envenom'd too! 



ACT V. SCENE II. 



151 



Then, venom, to thy work. \Stabs the King. 

All. Treason! treason! 

King. O, yet defend me, friends ; I am but hurt. 

Ham. Here, thou incestuous, murderous, damned 
Dane, 
Drink off this potion. Is thy union here .'' 330 

Follow my mother. [King dies. 

Laer. He is justly served; 

It is a poison temper'd by himself. 
Exchange forgiveness with me, noble Hamlet: 
Mine and my father's death come not upon thee, 
Nor thine on me! [Dies. 

Ham. Heaven make thee free of it! I follow thee, 
I am dead, Horatio. Wretched queen, adieu! 
You that look pale and tremble at this chance. 
That are but mutes or audience to this act, 
Had I but time — as this fell sergeant, death, 340 

Is strict in his arrest — O, I could tell you — 
But let it be. Horatio, I am dead; 
Thou livest; report me and my cause aright 
To the unsatisfied. 

Hor. Never believe it: 

I am more an antique Roman than a Dane: 
Here's yet some liquor left. 

Ham. As thou'rta man, 

Give me the cup: let go; by heaven, I'll have't. 
O good Horatio, what a wounded name. 
Things standing thus unknown, shall live behind me ! 
If thou didst ever hold me in thy heart, 350 



152 HAMLET. 

Absent thee from felicity awhile, 
And in this harsh world draw thy breath in pain, 
To tell my story. \_March afar off, and shot within. 
What warlike noise is this ? 

Osr. Young Fortinbras, with conquest come from 
Poland, 
To the ambassadors of England gives 
This warlike volley. 

Ham. O, I die, Horatio; 

The potent poison quite o'er-crows my spirit : 
I cannot live to hear the news from England; 
But I do prophesy the election lights 
On Fortinbras : he has my dying voice ; 360 

So tell him, with the occurrents, more and less, 
Which have solicited. The rest is silence. {Dies. 

Hor. Now cracks a noble heart. Good night, 
sweet prince: 
And flights of angels sing thee to thy rest ! 
Why does the drum come hither } [March within. 

Enter Fortinbras arid the English Ambassadors, 
with drums, colors, and Attendants. 

Fort. Where is this sight .-' 

Hor. What is it you would see .-' 

If aught of woe or wonder, cease your search. 

Fort. This quarry cries on havoc. O proud death, 
What feast is toward in thine eternal cell. 
That thou so many princes at a shot 370 

So bloodily hast struck } 



ACT V. SCENE II. 1 53 

First Amb. The sight is dismal ; 

And our affairs from England come too late : 
The ears are senseless that should give us hearing, 
To tell him his commandment is fulfill'd. 
That Rosencrantz and Guildenstern are dead : 
Where should we have our thanks ? 

Hor. Not from his mouth, 

Had it the ability of life to thank you : 
He never gave commandment for their death. 
But since, so jump upon this bloody question. 
You from the Polack wars, and you from England, 380 
Are here arrived, give order that these bodies 
High on a stage be placed to the view ; 
And let me speak to the yet unknowing world 
How these things came about : so shall you hear 
Of carnal, bloody and unnatural acts, 
Of accidental judgements, casual slaughters. 
Of death put on by cunning and forced cause, 
And, in this upshot, purposes mistook 
Fall'n on the inventors' heads : all this can I 
Truly deliver. 

Fort. Let us haste to hear it, 390 

And call the noblest to the audience. 
For me, with sorrow I embrace my fortune : 
I have some rights of memory in this kingdom. 
Which now to claim my vantage doth invite me. 

Hor. Of that I shall have also cause to speak, 
And from his mouth whose voice will draw on more : 
But let this same be presently perform' d, 



1 54 HAMLET. 

Even while men's minds are wild; lest more mis- 
chance 
On plots and errors happen. 

Fort. Let four captains 

Bear Hamlet, like a soldier, to the stage ; 400 

For he was likely, had he been put on, 
To have proved most royally: and, for his passage. 
The soldiers' music and the rites of war 
Speak loudly for him. 
Take up the bodies : such a sight as this 
Becomes the field, but here shows much amiss. 
Go, bid the soldiers shoot. 

\A dead march. Exeunt, bearing off the dead bodies ; 
after which a peal of ordnance is shot off.'\ 



NOTES AND QUESTIONS. 

ACT I. 

Scene I. 

Suggestion of Scene. The opening scene of the play is on the plat- 
form of the castle of Kronberg, which stands near Elsinore, on the 
island of Zealand, off the eastern coast of Denmark. From the middle 
to the back of the stage runs a low, thick wall; at the left of this, steps 
descend to the interior of the defenses; stretching to the right, is the 
platform, or broadening of the wall, flanked on its right by a battle- 
mented parapet, higher than a man's head; far below it, one hears the 
subdued roar of the sea. At the back of the stage, running from left 
to right, is a somewhat higher battlemented wall, through which is cut 
a door leading to unseen portions of the castle. At the left an d rear of 
the stage, and stretching far into the background, is the castle itself, 
with a massive tower at either end. Its front is flooded with moonlight, 
which throws into deep shadow the space before the wall at the back of 
the stage. On the platform, Francisco, a sentry, leans on his partisan, 
and gazes sorrowfully down at the sea, where it breaks upon the rocks. 
In the shadow of the rear wall approaches an armed man, casting fur- 
tive glances over his shoulder, as if he fears his footfalls may awaken 
the ghosts that prov/1 at the dark hour of midnight. Suddenly Fran- 
cisco, shifting his position, accidentally lets his partisan come down with 
a clang on the firm stone beneath his feet; the approaching figure cries 
out in a startled voice, "Who's there ? " The play begins. 



2. "Me" should be given a startling emphasis. Why? "Unfold 
yourself" is equivalent to " Give the countersign." The answer is in 
the next line. 

6. Fancy that as Francisco finishes this short speech, the clock begins 
to strike; the two men stand silent while the twelve strokes are doled 
out, when Bernardo replies. 

9. "I am sick at heart." As Francisco knows nothing of the 
appearance of the ghost, it is supposed that Shakespeare intended this 
speech to refer to the private griefs of the relieved guard, and to give 
the keynote to the play — a note of sadness. 

13. "Rivals" is from riviis, stream, brook. As many families got 
their water from the same stream, they were rivals, or partners in the 
use of it. Can you conjecture how the word came to have its modern 
meaning ? 

15. Who is " the Dane " ? 

155 



156 NO TES AND Q UESTIONS. 

18. "Give you good night," a contraction of "God give you good 
night; " now contracted to what ? 

19. Why does Horatio speak jestingly ? Line 30 will throw light 
upon the question. 

21. Would it have been more effective if Shakespeare had written 
ghost instead of "thing" ? 

23. " Fantasy " means imagination. 

31. Shakespeare makes soldiers speak like soldiers. What words in 
Bernardo's speech prove it ? 

33. What is Horatio's manner here ? 

39. Why did not Shakespeare let Bernardo finish his account of the 
former appearance of the ghost before allowing it to enter ? 

42. In Shakespeare's day a scholar was one who could speak Latin, 
in which language ghosts were exorcised. 

46. By this time Horatio's manner has changed. When and how ? 
Notice that he does not speak Latin. Why ? The absence of scenery 
and proper costumes in the Shakesperean theater made it necessary for 
the poet to hint at, and often to describe, the scenes and the appearance 
of the characters. What word in Horatio's lines tells the dress of the 
ghost ? 

57. "Sensible . . . avouch " means a proof made manifest to the 
senses; in this case, to the sense of sight. 

61. Scan the line. 

62. " Parle," parley; related to what French word ? 

63. " Sledded Polacks," Poles who rode on sleds. 
65. What does "jump " mean here ? 

67. Horatio means to say that though he does not know in what 
particular way, yet he believes the ghost's appearance forebodes some 
danger to the state; for, it was believed that the spirits of the dead 
never walked abroad without good reason. Explain " gross " and 
"scope." 

70. " Good now," an exclamation probably equivalent to our "come 
now." 

72. "Toils the subject of the land," makes the subjects of the land 
to toil. 

74. " Mart," market. 

75. " Impress," impressment. 
77- "Toward," about to occur. 
83. "Emulate," emulous. 

87. "Well ratified, <"/(:." The compact was made in the proper 
legal form, and was ceremoniously announced by the heralds, thus 
being made doubly binding. 

89. "Seized of," possessed of. 

90. "Moiety competent," an equal part or amount. 

91. " Had returned," would have returned. Is "returned" used 
in the usual sense ? 

94. " Carriage of the article designed," meaning of the agreement 
drawn up. 



A CT I. SCENE I. 



157 



96. "Unimproved," unrestrained, or perhaps inexperienced. 

98. "Shark'd," "gathered indiscriminately." (Clark and Wright.) 
Explain the figure. " Resolutes," resolute men. 

100. "Stomach." The stomach was formerly supposed to be the 
seat of courage. 

107. "Romage, " rummage ; or perhaps from roam. 

112. If "mote" is emphasized, what is the meaning of the line? 
If " is " is emphasized, what is the meaning ? 

113. Does "state" mean condition or government? Are not this 
and the following lines of the speech suggestive of a passage in another 
play of Shakespeare's ? 

116. It is conjectured that a line has been omitted here, by mistake; 
hence the obscurity of the passage. 

118. "Moist star," the moon. Why is it so called? The next 
line explains. 

121. "Precurse," precursor, that which goes before as a warning. 

122. "Harbinger;" in olden times, an officer who went ahead of 
the king when he traveled, to secure him a harlior, or lodging. He was 
usually accompanied by an officer called a purveyor, who provided food 
for the king and his retinue. 

123. "Prologue" and "omen " have the same meaning; but here, 
" omen" means the portended disaster itself. 

125. " Climatures," those who live in the same climate. 

127. It was an ancient superstition that whoever crossed the path of 
a ghost would come under its evil influence. However, Fechter, a 
German actor, made the sign of the cross, at which action the ghost 
stopped. 

129. What is the effect of the short line ? 

130. In this line and the rest of the speech, what old superstitions 
are involved ? What in the stage direction, " Cock crows ".«* 

138. Why does Horatio use the words, " they say " ? 

140. " Partisan," halberd, a combination of spear and battle-ax. 

154. " Extravagant " and " erring " are used in the Latin sense — 
wandering. 

155. Scan this line. 

156. " Object, " case, instance. " Probation," proof. 

157. What word in this line is particularly well selected ? Why ? 
160. The cock is generally called a fowl rather than a bird, and his 

cry is seldom called singing; why does Shakespeare so dignify him 
here ? 

162. " Strike," to exert a destructive influence. 

163. "Takes," bewitches. 

165. Would Marcellus or Bernardo have said, " and do in part 
believe it " ? 

166, 167. One of Shakespeare's beautiful descriptions of the com- 
ing of morn. 

Questions on the Scene. I . One critic has said that this scene is 
unnecessary to the play. Can you show that it is necessary as an intro- 



158 



NOTES AND QUESTIONS. 



duction ? 2. Is it weak as an introduction because Hamlet, the central 
figure of the play, does not appear ? 3. Is it a good or a bad point that 
Hamlet is mentioned but once, and that at the end of the scene? 4. 
How soon in the scene does the interest begin ? 5. What things in the 
scene make it interesting? 6. Which has the stronger dramatic effect, the 
first or the second appearance of the ghost? 7. Marcellus says that the 
ghost is " invulnerable; " it was therefore useless to strike at it; then what 
was Shakespeare's purpose in having him and Bernardo do so? 8. Which 
is the more dramatic, the beginning or the end of the scene ? 9. Picture 
the movements and the actions of Bernardo and Francisco as the scene 
begins. 10. With what tones and gestures does Horatio express his 
disbelief? 11. Should the actors who take the parts of Bernardo and 
Marcellus endeavor to make the spirit of mystery and the supernatural 
brood over the scene before the appearance of the ghost ? If so, with 
what tones, looks, movements ? 12. Does this spirit pervade the whole 
scene ? 13. Where should it be strongest ? 14. Should the ghost 
move fast or slowly ? 15. Should he walk in the shadow or in the moon- 
light, or both ? 16. What should be his action when the cock crows? 
17. Considering the very unmusical note of the cock, should its crow- 
ing be represented ? 18. If you think so, show how it could be done 
without causing a laugh among the audience. 19. What difference of 
character appears in the three persons, Horatio, Marcellus, and Bernardo ? 
20. Which one changes tone, expression, and manner in the scene ? 
Where and why? 21. What lines in the scene are most poetical? 
Why ? 22. What are the most striking figures of speech ? 



Scene II. 



Suggestion of Scene. A great room in the castle. At the left and 
at the right, a staircase, with elaborately carved rails, ascends to a bal- 
cony, which runs the entire width of the room at the back, and which 
has a series of arches forming an arcade, with curtains, some drawn, 
some not. Before the stair at the left is a great wooden door, with 
iron hinges, fanciful iron ornaments, and great, heavy nail-heads. The 
walls here and all about the room are covered with wood intricately 
carved into twining foliage and writhing dragons. In the middle of 
the rear wall, under the balcony, is a high, double door, very wide, 
with curtains, which are parted, and hang in thick folds on either side. 
Two steps lead up to the hall into which the door opens. Near the 
front, at the left, is a curious chair, its back, like the woodwork on the 
walls, carved into foliage and dragons. At the right, placed diagonally, 
is a dais, on which are two throne chairs, of red and gold; and behind 
them rise two staffs, crossed at the middle, each bearing a triangular 
banner red as blood, and having the figure of a large black raven, the 
emblem of Denmark, in the center. 

As the music begins, a procession enters headed by a double file of 
six soldiers, wearing helmets with nose-guards, and coats of chain mail. 



ACT I. SCENE 11. 159 

and carrying long spears and round shields. The files divide and form 
a guard of three men on each side the door. Next come the king and 
the queen, in robes of royal scarlet and golden crowns. They are fol- 
lowed by the white-haired and white-robed Polonius, whose feeble steps 
are supported by a long staff. After him come his son Laertes, his 
daughter Ophelia, the courtiers Voltimand and Cornelius, and a com- 
pany of lords and ladies,— the men clad in tunics; over these, gay 
mantles reaching to the knee, and girt about by brilliant sashes, from 
which their swords hang; they wear stockings which reach above the 
calf of the leg, leaving the knee bare; and high shoes, laced from the 
toe. The women are dressed in long robes of various interlacing pat- 
terns, bound about by sashes: the sleeves fall; the long loose hair sup- 
ported by gold bands about their heads. Last of all comes a lonely 
figure in funereal black — Hamlet. 

The procession halts before the throne; the king and the queen 
ascend, the attendants arrange their long robes, they sit, and the court 
falls back into a decorous semi-circle, Polonius standing nearest the 
royal pair. Hamlet sinks into the great chair at the left. The king 
speaks. 

4. "Contracted in one brow of woe." The king compares his peo- 
ple to a man whose brow is contracted into wrinkles because he is 
sorely troubled. 

5. In what sense is "nature " used ? 
8. " Sometime," former. 

10. "Defeated," sad. 

11. " Auspicious, " joyous; " dropping," tearful. 

14, 15. "Barr'd, eic.,'^ excluded, acted against your advice. 

18. " Supposal," opinion. 

21. The line means, — having no aid (colleague) but this supposed 
one. 

24. " Bonds," any things that bind, as the law bound old Fortinbras 
in the case mentioned in the previous scene, lines 80 to 95. 

31. "Gait," progress. 

31,32. "Levies," "lists," " full proportions, " refer to the enlist- 
ment of soldiers. 

33. "Subject." Where has this word already been used ? and what 
is peculiar in its use ? 

38. "Delated," expanded, fully explained. 

39. " Let your haste, etc.,'' let your haste show that you wish to do 
your duty. 

44, 45. The idea is. You cannot make a reasonable request and 
be denied it. Scan line 45. 

46. The king means that he would prefer to have the favor a free 
offering from himself rather than the granting of a request. 

47. " Native," related. " 

48. " Instrumental," helpful, 
56. " Pardon," permission. 

60. What word in the line is especially appropriate in the mouth of 
a minister of state. 



l6o NOTES AND QUESTIONS. 

62. " Take thy fair hour," go when you like. 

64. " Cousin," a more general word for relationship than now. 

65. Explain the line. It has been conjectured that the word, "kin," 
is a play on the German word, '■'■ Kind,'" child. Does this seem likely ? 
Does it change your explanation ? 

67. "Too much in' the sun." Many explanations of this expres- 
sion have been made. Hamlet may mean that he is the son of the king 
rather than king, as he should be; Claudius had been elected to succeed 
the elder Hamlet; but Hamlet says later in the play that the election 
had been carried by fraud. It has been conjectured that there is a play 
on the words, "son " and "sun." If so, does this explanation hold ? 

68. " Nighted," black. The royal color in Denmark was red; the 
queen protests against Hamlet wearing black. 

70. Scan the line. 

70, 71. The actor must take hints from the lines as to the manner of 
the character he represents. What hint is there here ? 

73. In what sense is " nature " used here? 

74. Can there be a double meaning in Hamlet's reply? Consider 
his next speech and his feeling toward his mother as shown throughout 
the play. 

76. What are the most emphatic words? 

7g. Scan. 

81. " Havior," for behavior. 

87. Scan, accenting "commendable " on the first syllable. Note that 
sometimes the name of a person addressed is not counted in the number 
of feet. 

90. What is the syntax of "lost" in the expression, "that father 
lost ' ' ? 

92. "Obsequious," relating to obsequies. Scan the line, noting 
that the accent of one word has changed since Shakespeare's time. 

93. Has " condolement " its modern meaning? 
95. " Incorrect," rebellious. 

99. Change the phraseology here to make it modern. 

107. " Unprevailing," unavailing. 

109. "Immediate," close. The king here announces that he wishes 
Hamlet to succeed him. 

114. "Retrograde" was a term used in astrology; when the planets 
were going away from the earth's orbit, they sometimes exerted an un- 
favorable influence on human affairs. 

120. It is noticeable that Hamlet answers his mother rather than the 
king; should "you," therefore, be emphasized? 

124. "Sits smiling to my heart." Change this peculiar expression 
into some ordinary form. " Grace " means honor. 

127. "Rouse" means the shouts of revelry that accompany drink- 
ing; " bruit " means to resound. Give syntax of both words. Remem- 
ber the king's allusion to his drinking; it will be noticed hereafter. 

129. Scan the line. Why is the word "too" repeated? What 
does the line mean? What do it and succeeding lines show as to 



ACT I. SCENE II. l6i 

Hamlet's view of life? His mental condition should be noted carefully 
here, as it concerns all that follows. 

132. Scan. 

134. "Uses," habits, customs. 

137. "Merely," entirely, completely. 

140. Scan. 

141. "Beteem," allow. 

147. "Or" means before. Why use it when "ere" has the same 
meaning? 

149. Scan. Salvini put a very natural touch into the reading of this 
line; he paused after "like," and seemed to be casting about in his mind 
for a suitable comparison. 

150. " Discourse of reason " means simply reasoning power. 

154. A critic has said that the queen's tears were not "unrighteous," 
but quite the contrary; and that Shakespeare probably wrote, "moist 
and righteous tears." Can you defend the text? 

155. To flush is defined in two ways by different commentators, — to 
fill with water, and to turn red. Is there any choice between the two 
meanings? 

157. " Dexterity, " quickness. 

163. " I'll change, ^A." There are several interpretations of this 
speech. If Hamlet has previously emphasized "friend," then what 
does it mean? 

164. "What make you" means the same as the German phrase, 
Was 7nac/ien Sie? 

167, i68. In this speech Hamlet speaks to each of the three. Explain. 

169. Horatio means that he is disposing of his time in truant fashion. 

180. " Thrift, thrift." Should these words be read to indicate haste 
or economy? Which meaning would require a sarcastic tone? What 
old custom is alluded to in the rest of this line and the next? 

182. " Dearest " is merely a superlative; it means greatest. 

183. "Or" means before, as in line 147. 

187. What is the most emphatic word? What does the emphasis 
imply? 

192. " Season," modify, calm; " admiration, " wonder. 

198. " Vast," emptiness. Why is the line particularly poetical? 

200. " At point," at all points; " cap-a-pe, " cap-a-pied, from head 
to foot. 

204. " Distill'd," probably melted, though the meaning is in doubt. 
Horatio means that they were so frightened that their flesh shook like 
jelly. 

214. Is " you " or " speak " the emphatic word? 

216. "It," its. 

216, 217. " Address itself to motion, ^/f." means, began to move 
as if it wished to speak. 

231. Would it be well to put the comma after " he " instead of after 
"what"? 

238. "Tell," count. 



1 62 NOTES AND QUESTIONS. 

248. "Tenable," held. 

254. "Your loves, etc.,''^ a polite speech by which Hamlet means to 
treat with them as equals. Compare line 163. 

256. " Doubt," suspect. 

257, 258. What is the syntax of "to men's eyes"? What is the 
significance of the rime? 

Questions on the Scene. I. What essential step of the story is 
set forth in the scene? 2. What is the value of the first scene to the 
second? Reconsider the first question on the first scene. 3. Is the 
dramatic effect stronger or weaker for Hamlet not speaking until state 
business and the affairs of Laertes are disposed of ? 4. In the first half 
of the scene, long speeches are the rule; in the second, short: is either 
half more dramatic, partly on this account? 5. What is the main reason 
for the superior dramatic quality of the stronger half ? 6. How does 
the dramatist bind over the interest to the next scene? 7. Does it not 
seem that the king in his long speech is very careful about his rhetoric? 
What does this indicate as to his character and his state of mind? 8. 
Pick out his antitheses. 9. The German actor, Fechter, started when 
the king addressed him as "son" (line 64); why so? 10. Does not 
Hamlet emphasize a word in line 84 in order to reflect unpleasantly on 
some one present? Might not a sidelong glance of the eye make his 
meaning clear? il. Explain Hamlet's manner and tone throughout 
this speech. Do they change at any place? 12. The speech beginning 
in line 129, Booth recited moving from side to side of the stage, once or 
twice flinging himself into his chair in an abandoned manner; show that 
the actor and the speech were in harmony. 13. Pick out two or three 
lines which, more than others, indicate Hamlet's state of mind. 14. In 
what way does his manner change when his friends enter? 15. How 
does Hamlet express in looks and manner the different degrees of friend- 
ship for the three men? 16. Suppose that before he speaks line 175, the 
sudden roar of a cannon is heard on the ramparts; does it not make the 
meaning of the next line more apparent? What, then, is the emphatic 
word in line 175 ? 17. What is Hamlet's tone and what the look in his 
eyes as he pronounces line 184 ? 18. Horatio's reply is sudden, perhaps 
full of fright; why ? 19. Why does not Horatio's manner attract Ham- 
let's attention ? 20. Some actors read the words, " Saw ? who ? " (line 
190) suddenly, as if startled; Sir Henry Irving reads them in an ab- 
stracted manner, as if he barely heard. Show the reason for each man- 
ner and determine which is better. 21. If Irving is right, where does he 
first express surprise ? 22. Macready has been criticised for reading 
the words, "Arm'd, say you?" too quickly after the speech before. 
Why ? 23. What is Hamlet's manner and attitude in this part of the 
scene ? 24. Why do the short questions and answers have so strong a 
dramatic effect? 25. Contrast Hamlet's manner in the early part of 
the scene with his manner in the speech beginning in line 244. 26. 
Does his manner change again after his friends depart ? 27. If we 
consider a man's fate the resultant of two forces, — the state of his inner 
self and the circumstances that act upon him from without, — do we find 



ACT I. SCENE III. 163 

the seeds of Hamlet's tragedy in this scene ? The answer should not be 
given hastily; perhaps we have not learned all of his inner self nor all 
of the circumstances that environ him. Come back to the question after 
finishing the play. 

Scene III. 



Suggestion of Scene. A quaint room in the house of Polonius. At 
the back of the stage a large door opens upon a balcony, whose railing 
may be seen, and beyond this a few trees and a prospect of field and 
hill. On each side the door, high up from the floor, is a semi-circular 
window. The walls are bare stone. In the middle of the room is a 
table, with legs and cross-supports of roughly carved wood. On the 
table a few large vellum-bound books, and at each end of it a rude 
bench. In the farther corners are a few chairs with high backs, elabo- 
rately carved, and uncomfortable; at each side a door. Ophelia sits on 
one of the benches, disconsolately leaning upon the table, her chin sup- 
ported in her hand. Behind her, bending to caress her, stands Laertes. 

3. "Convoy," conveyance, means of sending a letter. 

6. "Fashion," that which is fickle, changeable; "toy," a mere pas- 
time. Laertes wishes his sister to think that Hamlet has no other inten- 
tion than a flirtation. 

7. " Primy," early, youthful. 

9. " Suppliance of a minute; " the meaning is doubtfu: perhaps that 
which is supplied for a minute. 

10. "Crescent," growing, increasing. 

12. "Temple," the body. Laertes continues to warn his sister 
against her royal lover, whose mind, he says, may change as he grows 
older. 

15. "Cautel," deceit. 

16. Is "virtue" used in the sense of power or of goodness ? 

19. "Unvalued," of no rank. 

20. "Carve," choose. 

21. "Safety" has three syllables; scan the line. 

25-27. Laertes means, — You may believe him if, in his position as 
prince ("particular act and pjace "), he may marry you; otherwise, not. 
30. "Credent," credible. 
32. "Unmaster'd," uncontrolled. 
34. Do not show as much affection as you feel. 
36. "Chariest," most careful, cautious. 

39. "Canker," a worm that feeds on buds — "the infants of the 
spring." 

40. " Buttons," buds; " disclosed," opened. 
42. " Blastments," blights. 

44. Laertes means, — A young person does not like to restrain his 
feelings, and yields to them even when there is no other tempter than they. 
47. "Ungracious," graceless, wicked. 



1 64 NOTES AND QUESTIONS. 

49. "Puff'd," bloated with dissipation. 

50. "Primrose path; " compare the porter's speech in Macbeth, Act 
II, Scene 3, — " The primrose way to the everlasting bonfire." 

51. " Recks," observes; " rede," advice. 

56. " Sits," a sailor's word. 

57. *' Stay'd for," waited for. 

59. " Character," write. Scan the line. 

60. " Unproportion'd," inappropriate, unsuitable. 

61. "Vulgar," — in the Latin sense, common. 

62. " Adoption," acquaintance. 

64, 65. Do not be too keen to make intimate acquaintance with every 
one you meet, for by so doing you will teach people to value your friend- 
ship lightly. 

69. "Censure," opinion. 

71. " Not express'd in fancy," not conspicuous in color and design. 

73, 74. The people of rank in France show the very best taste in this 
respect (modesty of dress). 

77. "Husbandry," economy. 

In this speech of Polonius, Shakespeare is said to have imitated, for 
the sake of ridicule, Lyly's Euphues, a book that was very popular in 
his time; so much so that it gave rise to the term Euphuism, which is a 
high-flown affected style, abounding in figures, especially antitheses, and 
often burdened with commonplace wisdom. Later in the play, in the 
conversation between Hamlet and Osric, the poet ridicules Euphuism 
mercilessly. The following quotation will serve for an illustration in 
the present case : — 

" Be merry, but with modestie: be sober, but not too sullen: be val- 
yaunt, but not too venterous. Let thy attyre bee comely, but not costly: 
thy dyet wholesome, but not excessiue: vse pastime as the word im- 
porteth to pass the time in honest recreation. Mistrust no man without 
cause, nether be thou credulus without proof e: be not lyght to follow 
euery mans opinion, nor obstinate to stande in thine owne conceipt." 

90. " Marry," an oath upon the name of the Virgin. 

94. " Put on me," told me. 

102. "Unsifted," untried, inexperienced. 

108. "To crack the wind of the poor phrase," means to misuse it or 
to twist it out of its real meaning. 

In this speech and that of Ophelia in line 99, point out the varying 
meaning of "tender." 

no. Scan. 

112. " Go to, " equivalent to ccwt-, come; or the vulgar expression, 
get out. 

115. The woodcock was supposed to be a very simple bird, and very 
easily caught with springes, snares. 

116. " Prodigal," for prodigally. 

121. "Something," somewhat. 

122. The sentence means, — Set a higher value upon your company 



ACT I. SCENE IV. 1 65 

(" entreatments ") than to stop and talk whenever Hamlet bids you 
do so. 

126. " In few," in short. 

127. " Brokers, " go-betweens. 

128. "Dye," color; " investments," dress. 

133. " Slander," disgrace; " moment," moment's. 

Questions on the Scene. I. What new thread of the story begins in 
this scene? 2. Does the scene interrupt the story? 3. If so, is the 
interruption a blemish? 4. How does the scene compare in dramatic 
effect with the preceding one? 5. What is Ophelia's manner when she 
says, " No more but so " (line 10)? 6. Is Laertes hard in his man- 
ner toward Ophelia, or tender ? 7. Laertes speaks very curtly 
when he says, " O, fear me not" (line 51); why? 8. What is 
Laertes's action when he receives his father's blessing ? 9. What 
is the manner of Polonius when he says, "What is't, Ophelia, 
etc.'" (line 88)? And Ophelia's in her reply? 10. In the following 
speeches of Polonius, does he treat her as a child or a woman? 
u. Picture Ophelia's attitude, expression, and tone in her last speech, 
"I shall obey, my lord." 12. What impression does the scene give of 
the character of Laertes ? 13. In Ophelia's speech beginning in line 
45, does she seem a child or a woman ? 14. Why did Laertes make so 
brief a reply? 15. Does the long list of " precepts " which Polonius 
gives to Laertes, seem to have been learned from experience or from 
books ? 16. Distinguish between a precept and a principle, and find 
one principle among the many precepts. 17. In Mr. Sothern's recent 
presentation of "Hamlet," Ophelia slyly reads a letter (presumably 
from Hamlet) as Polonius pronounces the speech beginning in line 90, 
and appears not to listen. As he says, "Give me up the truth," he 
snatches the letter from her; whereupon she pouts. Is this " stage 
business " true to her character ? 

Scene IV. 

Suggestion of Scene. The same as Scene I • and as then — Night- 

1. "Shrewdly," keenly. 

2. " Eager," sharp. 

8. "Wake," to hold revel ; " rouse ; " see Scene II, line 127. 

9. "Wassail," drinking bout. "Swaggering up-spring reels;" 
several explanations are given, the best one being that the " up-spring " 
was the wildest of German dances — a good picture this, of the king 
and his court in a night of revel. 

15. "Manner;" if the word manor be substituted, is the sense 
changed? 

16. The line means, — It is more honorable not to observe the custom 
than to observe it. The sentence is of course a paradox. 

17. What word in the line is especially well selected? What does the 
expression, "east and west," modify? 



1 66 NOTES AND QUESTIONS. 

i8 "Tax'd," censured. 

19. "Clepe," call. 

19,20. "With swinish phrase, etc.; " speak evil of us by calling us 
swine. It has been conjectured that Shakespeare may have intended a 
pun on the name of Sweyn, which many kings of Denmark had borne. 

20-22. The sentence means, — The reputation of drinking too much 
detracts from the reputation of our deeds, though they be performed in 
the best possible manner. 

24. *' Mole," blemish. 

27. "Complexion," temperament. There were four temperaments or 
complexions — the sanguine, the melancholy, the choleric and the phleg- 
matic. These four words are particularly good for philologic study. 

30. " Plausive," pleasing. It will be easier to understand this very 
much involved sentence if the words it happens be inserted before 
"that." 

32. " Nature's livery," an accidental or natural defect; "star" is 
understood as scar. 

34. " Undergo," experience. 

35. " Censure," see Scene III, line 69. 

36. "Dram of eale," is not understood; it is doubtless a misprint, 
perhaps for evil. Hamlet's thought is that a man of excellent qualities 
may lose character by one serious fault. 

40. " Spirit of health," one who has been saved, who brings " airs 
from heaven." 

43. "Questionable shape; " it is Hamlet's father's ghost, and there 
fore may be questioned by him. 

47. " Canonized," buried according to the canon. Scan. 

52. "Determine whether "dead," which seems redundant, adds 
anything to the idea. Scan the line. 

54. "Fools of nature; " nature keeps us as fools to amuse her, just 
as nobles kept fools to amuse them. 

55. " Disposition," nature. 
59. "Impartment," message. 

66. What is the most emphatic word ? 

71. What word in the line is especially well selected ? 

73. " Sovereignty," command. 

75. "Toys," freaks. 

83. Scan. 

85. "Lets," hinders. What word is most emphatic ? 

89. " Have after," let's go after him. 

91. What is the antecedent of " it " ? 

91. Marcellus means, — Let us direct it. 

Questions on the Scene, i. What is the reason of the intense inter- 
est of the scene? 2. Why does the scene open with apparently unneces- 
sary conversation about the cold night ? 3. Is the noise of trumpets 
and the firing of cannon effective, or does it seem too startling an inter- 
ruption to the intense and mysterious silence? 4. Should the roar of 
the cannon be near at hand or in some remote part of the castle? 



ACT I. SCENE V. 167 

5. Why does Shakespeare put a long speech into the mouth of Hamlet 
here — one that does not concern the appearance of the ghost? 6. 
Would the dramatic effect be increased if Hamlet, in the beginning of 
the scene, look about frequently as if expecting the ghost? 7. If so, 
should this watchfulness be kept up through the long speech preceding 
the entrance of the ghost ? 8. Describe the grouping of the characters 
as the ghost enters, and picture the manner of Horatio ' as he says, 
"Look, my lord, it comes." 9. With what manner, look, and tone 
does Hamlet pronounce line 39 ? 10. From Shakespeare's time to the 
present day, the actors who have played the part of Hamlet have made 
a long pause after this line; why? 11. What reason for fear has 
Hamlet besides the mere seeing of a ghost? 12. As Hamlet proceeds in 
the speech his fear decreases, giving way to another emotion ; what is 
it ? How do his tone and manner change ? 13. Formerly every 
Hamlet on breaking away from Horatio and Marcellus, drew his 
sword, pointed it at the ghost, and thus followed it out ; Kemble 
changed this, first drawing his sword upon his friends as he says, " By 
heaven, etc.'" (line 85), then "drooping the weapon after him " (see 
FuRNESS), and extending his left hand toward the ghost, followed. 
Show that this was an improvement. 14. What is there in the scene to 
indicate what Hamlet thought of the king ? 15. In Hamlet the critics 
think that Shakespeare intended to show a man whose intellect was 
much stronger than his will, who could think much better than he could 
act; what speech in the scene shows his intellectual power ? 16. Does 
Hamlet show any lack of will in the scene ? 17. Notice that in the 
speech, "My fate cries out" (line 81), Hamlet seems to think that 
some power outside of and above himself puts strength into his body; 
keep this in mind through the play, and see whether the idea is carried 
to the end. 18. What parts of the scene appeal most strongly to the 
emotions and the imagination ? Does not this quality make them 
poetry ? 

Scene V. 



Suggestion of Scene. Owing to the expense of preparing many stage 
settings, this scene is usually the same as the first; but we may shift it to 
the front of the castle, whence we see, along the rear of the stage, a bat- 
tlemented parapet, and between it and us, a broad stone-paved space. 
Beyond the parapet, the cold wintry sky, the moon occasionally peering 
from between the clouds. 

6, 7. In what sense does Hamlet use the word, " bound " ? In what 
sense does the ghost take it ? 

10. Scan. 

16. What word does the scansion make unusually forcible ? 

19. " An " has the effect of on. 

21. " Eternal blazon ; " " blaze ' ' was formerly used in western Amer- 
ica to mean the cutting of notches on trees, in order to mark a path 



1 68 NOTES AND QUESTIONS, 

through the woods. Hence it means to mark, to inform, to make pub- 
lic. " Eternal" refers to eternity — future life; the ghost will not tell 
to a mortal the horrors of hell. 

31. What is the strongest word in the line ? 

32, 33. The " fat weed " is probably the asphodel, which the Greek 
poets say grew in the realm of shades. " Lethe," a river in Hades; 
Milton calls it "the river of oblivion." "Wharf," for bank. 

37. " Forged process," false account. 

50. "Decline," sink down. 

61. Scan. Meaning of "secure " ? 

62. "Hebanon," henbane. 

64. " Leperous " is explained in the description of the effect of the 
" distilment." 

68. " Posset," curdle. Scan. 

69. " Eager," sour. 

71. Explain " instant " and " bark'd." 

72. " Lazar-like," like a leper. 

73. What is the effect of the short line ? 

77. " Unhousel'd," without taking the sacrament; "disappointed," 
unappointed, unprepared; "unaneled," without the holy oil. 

81. Meaning of " nature " ? 

90. " Uneffectual fire," fire that pales because of the coming of 
morning. It was an ancient belief that ghosts disappeared when the day 
dawned. 

98. "Table," tablet. 

99. "Fond," foolish. Scan. 

100. "Saws," maxims; " forms, " perhaps rules; "pressures," im- 
pressions, as those of a seal in wax. 

105. Another short line; why? 

106. Hamlet thinks of the king's smiling when he called him son. 

107. " Tables; " the tables, or tablets, carried by scholars in ancient 
times, were made of slate or ivory, and had several leaves. 

115. Does "it" refer to Horatio's " Heaven secure him," or to 
Hamlet's oath? 

115, 116. " Hillo, etc.,'" \% the cry the falconer uses to recall his 
hawks. 

127. Meaning of " circumstance " ? 

136 and 138. Explain the turn on the word "offence.' 

139. Meaning of " honest " ? 

148. In olden times it was customary to swear upon swords because 
they had cross-hilts. "Already" refers to "in faith," the oath al- 
ready sworn. 

150. "Truepenny." One critic (Upton) explains that in the old 
morality plays, vice was accustomed to jest with the devil in several set 
expressions, as "Ah, ha, boy, are you there?" The audiences of 
Shakespeare's time readily understood the allusion. The meaning of 
"truepenny" is plain enough; Hamlet has already said that the ghost 
was " honest." 



ACT I. SCENE V. 1 69 

156. "Hie et ubique," a phrase taken from the ceremonies of 
conjurers. 

163. "Pioner," pioneer, an attendant of armies who dug trenches 
and performed other duties not assigned to soldiers. 

166, 167, Remember Horatio's disbelief in the first scene. 

172. "Antic disposition," assumed manner. Here begins the ques- 
tion of Hamlet's madness or pretended madness. 

174. " Encumber'd," folded; as one folds his arms when he pre- 
tends that he knows much more than he is willing to tell. 

186. " Friending," friendliness. 

Questions on the Scene, l. Up to this time curiosity has been excited 
as to what is the motive of the play ; show that this motive is now 
revealed. 2. Describe the tone and the manner of the ghost. 3. What 
should be the physical appearance of the actor who takes the part ? 
4. What is Hamlet's tone when he says, "Alas, poor ghost" ? 5. 
What effect has the word "revenge" upon the audience? 6. The 
same effect is wrought upon Hamlet : what tone and manner expresses 
it ? 7. In the beginning of the scene, Hamlet's refusal to go farther 
leads us to believe he is becoming somewhat afraid of the ghost ; if so, 
where does his fear disappear ? 8. " Murder" (line 25) has the same 
effect as "revenge;" what is it? 9. Would you describe Hamlet's 
speech beginning in line 29 as resolute or irresolute ? 10. In line 40, 
Hamlet says he has suspected his uncle of murdering his father ; how 
long has he held this suspicion ? 11. Describe the ghost's general tone in 
the long speech beginning in line 42, and say where and how it changes. 
12. After the exit of the ghost, Hamlet seems to be a changed man ; 
how? 13. What gesture accompanies line 97? 14. Would you de- 
scribe the speech beginning in line 92 as resolute or irresolute ? 15. If 
the former, why does not Hamlet go at once and kill the king ? 16. 
This speech has been described as hysterical ; is it so, and why ? 17. 
What is Hamlet's action as he writes on his tables ? 18. Explain why 
Hamlet speaks in so frivolous a manner when his friends return (line 
116): does not the scene become grotesque here? 19. Explain a sud- 
den change in Hamlet's manner in lines 121, 122, and 123. 20. Explain 
a more marked one in lines 124 and 126 ; what is the manner of 
Horatio's reply ? 21. Hamlet's hysterical manner, if such it may be 
called, returns in the part of the scene in which he holds his sword, hilt 
up, for his friends to swear upon, while the ghost from beneath the 
platform, in a long-drawn tone, says, " Swear ; why ? Perhaps it is 
asking the same question to say, — Why does Hamlet speak so disre- 
spectfully of and to his father's ghost? 22. Most Hamlets fold their 
arms and look wise and mysterious when they pronounce lines 174 to 179; 
Irving links his arms into those of his friend's in a confidential manner : 
which way do you like better? 23. With the words, "Rest, rest, 
etc.'" (line 183), Hamlet's manner changes: how and why? 24. 
Explain the action that accompanies the last line of the scene. 25. In 
line 172 Hamlet says he may in the future " put an antic disposition on " 



I70 NOTES AND QUESTIONS. 

(see note). One explanation of his purpose is that he may thereby 
conceal from the king the true reason for his sadness and thus plot his 
revenge in safety; another, that he may cause his friends to think that 
his "wild and whirling words" and his extremely excited manner were 
put on, although in reality he had lost his self-control ; a man does not 
like to be caught in too violent a display of emotion. Which of these 
explanations is the better ? 26. Hamlet's character is explained as one 
in which power to feel and to think are so great that his power to act is 
overcome ; his inward tumult is so great that he cannot do what he 
wishes to do : consider whether he falls into this state in this scene. 
27. What line in the speech beginning in line 126, shows that he is a 
man whose habit it is to think every subject over carefully, looking at it 
on all sides ? 28. Is there anything in the scene that indicates that 
Hamlet has become insane ? 

Questions on the Act. i. Shakespeare usually divides his plays into 
five divisions, or steps, each corresponding to an act; what step of the 
story is set forth in this act? 2. What thought near the end of the last 
scene expresses Hamlet's own point of view of the situation in which 
he finds himself ? 3. Do you detect any fatalism in this speech or else- 
where in the act ? 4. Is there any scene in the act that could be 
spared or shortened? 5. "Hamlet" is said to be a tragedy of 
thought rather than of action; does it appear so up to this point ? 

ACT II. 

Scene I. 

Suggestion of Scene. The same as that of Act I, Scene III. 

7. " Danskers," Danes. 

8. " Keep," dwell. 

10. " Encompassment and drift," roundabout manner. 
12. " Particular demands," direct questions. 
20. " Forgeries," false accusations; " rank," gross, bad. 
28. "Season," modify, explain. 

31. " Quaintly," artfully. 

32. "Taints of liberty," such taints or faults as are naturally 
acquired by young men who are not restrained by home or other good 
influences. 

34. " Unreclaimed," untamed. 

35. " Of general assault," such as attack, or "assault" youth in 
general. 

38. " Fetch of warrant," a justifiable, or perhaps, effectual, trick. 
40. The line means, As if he were but slightly blemished by his 
wild life. 

42. " Converse, " conversation. 

43. " Prenominate," named, or mentioned before; 

45. The line means, — He will follow up your remarks thus. 
47. "Addition," title. Where is the word used before? 



ACT II. SCENE IL 171 

58. "O'ertook in's rouse," perhaps drunk, overcome by drink. 

63. Explain the figure. 

64. " Of reach," of far-sight. 

65. "Windlasses," roundabout ways; "assays of bias," indirect 
methods; figure from the game of bowls, in which the player twists the 
ball, making it go in a curve. 

66. "Indirections," again — indirect methods. 
71. Meaning of the line ? 

73. If Polonius speaks figuratively, what does he mean ? 
78. " Unbraced," unfastened. 

80. "Down-gyved," fallen down to his ankle, and thus resembling 
gyves, or fetters. 

102. " Ecstasy," madness. 

103. " Foredoes, " destroys. 

112. "Quoted," observed. 

113. " Beshrew my jealousy," curse my suspicion. 

II4-II9. Polonius means, — It is as natural for old men to be too 
suspicious as for young men to be too unsuspicious. 

118-119. Polonius means, — It will cause more trouble to conceal the 
secret of Hamlet's love and consequent madness than it will to reveal it. 

Questions on the Scene. I. Is any idea set forth in the scene that is 
necessary to the story ? 2. Is anything gained from the fact that this 
scene is much less dramatic than the last one in the first act ? 3. Describe 
Ophelia's manner as she enters, and as she tells her story to her father. 
4. Contrast the manner of Polonius as he speaks to Reynaldo with his 
manner to Ophelia, as he says, " With what, i' the name of God? " (line 
76). 5. What notion of a young man's morals does Polonius hold? 

6. What expressions, sometimes repeated — and with a wise shake of 
the head, no doubt — show Polonius to be a very pedantic old man? 

7. In what speeches does he show what he fancies to be the most pro- 
found and impressive wisdom ? 8. In what lines is he very euphuistic ? 

Scene II. 

Suggestion of Scene. A room in the castle, the walls and ceiling 
ornamented with carved wood. In the rear a great blazing fireplace, 
with hearth before it, at each side of which a heavy bench, without a 
back. Above the fireplace two crossed spears bearing the red flag with 
the black raven for a center; between, a small round shield. On the 
walls are fastened shields, bows, arrows, swords, and armor. In one 
corner a harp. At the left, near the front, is a great heavy table with 
stools about it, and one large chair with arms and high back; on the 
table a pile of great books and an ink horn. 
2. " Moreover that," beside that. 

5. Scan. 

6. " Sith nor," since neither. 

12. " Neighbor' d to, " associated with. 



172 NO TES AND Q UESTIONS. 

i8. "Open'd," revealed. 

24. " Supply and profit," aid and furtherance. 

30. " Bent," a figure from the bending of a bow; it means the utmost 
degree. 

38. "Practices," the means the two men are to use to discover the 
secret of Hamlet's changed behavior. 

42. " Still," ever. 

52. " Fruit," dessert. 

56. "Main," main cause. 

60. " Desires," that is, for the king's good health. 

61. " Our first," our first audience. 

67. " Falsely borne in hand,'' deceived. 
71. "Assay, " attempt. 

79. "Regards of safety and allowance," terms stipulating that 
Fortinbras should not ravage the country and that his troops should not 
be molested. 

80. "Likes," pleases. 

81. Express the line in ordinary phraseology. 
83. " Well-took," well taken — well done. 
86. " Expostulate," discuss. 

90. "Wit," understanding. In what sense is the word used when 
the saying is quoted. 

95. " Art," referring to Polonius's artificial style — his juggling with 
words. 

105. " Perpend," consider. Why short line ? 

109. "Beautified " has been much discussed; it probably means beau- 
tiful, or perhaps accomplished. But if either of these meanings be 
taken, it does not appear why Polonius calls it " a vile phrase. " Does 
it seem likely that Hamlet would use the word in the disparaging sense 
of artificial beauty? 

116. " Doubt," suspect. 

119. How should " love " be pronounced ? 

120. "Numbers, " verses. 

121. " Reckon," to scan, to put into verse. 

124. "Whilst this machine is to him," a euphuistic phrase meaning, 
while this body belongs to him. 

134. Had Polonius "perceived it " ? 

137. "Table-book," tablet. Polonius means that he did not merely 
record the matter in his mind, but that he did something about it. 

138. " Winking," to wink at a thing is to pretend not to see it. 

142. "?tar," sphere. 

143. " Prescripts," precepts. 
146. "Fruits," profit. 

149. "Watch," sleepless state. 

150. "Lightness," lightheadedness; "declension," declining, down- 
ward course. 

160. "Centre," that is, of the earth; perhaps of the palm of the 
hand, which is an important point in the science of palmistry. 



ACT 11. SCENE II. 



173 



163. Why does Polonius say " loose '' ? 

164. " Arras," tapestry; named from Arras, the town where it was 
made. 

169. "Wretch," sometimes used as a term of endearment. 

171. "Board," speak to; "presently," at once. Are the words, 
"O, give me leave," addressed to the king and the queen, or to 
Hamlet ? 

175. "Fishmonger;" Hamlet's meaning has been much discussed; 
probably he means that Polonius has been sent to fish out the secret of 
his — Hamlet's — madness. 

182. " For if . . . carrion." Of course Hamlet pretends to read this 
out of the book. However, the idea hinges on to what he has said of 
the rarity of honest men, and it probably means, — If the sun, letting 

fall its rays on a dead dog, breeds maggots therein , Here he 

stops, and putting on his " antic disposition," asks abruptly, "Have 
you a daughter ? " When Polonius has replied, Hamlet goes on to say 
that the old man should not allow her to walk too much in the carrion- 
breeding sun — that is, in the wicked world — for then she may marry 
a bad man and have children who are not honest. Later in the play the 
idea recurs (Act HI, Scene I, line 122); Hamlet asks Ophelia why she 
would be " a breeder of sinners." These subtleties are lost on Polonius, 
as a matter of course, in spite of the fact that he can find out truth 
though it were hid " in the centre." 

194. The actor has an excellent opportunity for making a good 
effect in Hamlet's reply, "Words, words, words." The first word 
comes out in a tantalizing way, in keeping with the " antic disposition." 
Then, perhaps, it strikes him that the reply was better than he thought, 
for is not much that is written in books mere words ? So he nods his 
head reflectively, much satisfied with his sweeping criticism on literature, 
as he repeats the word twice. The twice-repeated expression, "Except 
my life," in lines 218, 219, may be read in a similar way. 

195. 196. Here is one of Shakespeare's favorite tricks in word play. 
A word used or implied by one person is taken up in another meaning 
by another. Explain. 

196. "Who," whom. 

205, 206. Hamlet's allusion to the crab is just the opposite of what 
might be expected. Why does he thus reverse his thought ? 

209. See note on lines 195, 196. 

229. "Indifferent," average. 

245. "Confines," places of confinement. 

263. "Then are our beggars bodies, etc^ Hamlet seems by no 
means sure that he makes a sensible observation here, for he says, 
" By my fay (faith), I cannot reason." Perhaps he means, — If ambition 
is but a shadow's shadow, then kings and "outstretched (strutting) 
heroes" are mere nothings, while unambitious beggars are the real 
substance. 

270, 271. Dreadfully attended ; " my servants are a poor lot; 
"beaten, "plain, unceremonious." 



174 NOTES AND QUESTIONS. 

275. "My thanks, etc.;'''' my thanks are not worth a halfpenny. 
Why ? 

280. "But to the purpose." Hamlet speaks ironically here. Why? 

282. "Modesties." Shakespeare frequently uses the plural of love 
and other words, as modesty here, where we should use the singular. 

288. " Consonancy of;" " of " is used in the sense of from. 

290. " A better proposer," a better speaker. 

296. " My anticipation, etc.^^ Hamlet means that he will tell them 
why they have been sent for, because he will thus save them from the 
dishonor of revealing ('discovering ') the confidence that the king and 
the queen have placed in them; this confidence shall "moult no feather; " 
i.e., shall not lose a particle of itself. 

308. " Express," fitted to its purpose. 

312. "Quintessence," fifth essence; a term used by alchemists, sig- 
nifying what is left of any substance when the four elements, earth, air, 
fire, and water, have been removed. 

320. " Lenten," meager, such as would suit the season of lent. 

321. " Coted," overtook. 

323. In the speech beginning in this line, Hamlet mentions the usual 
characters of the play of his time — the king, the humorous man (such a 
character as Jacques in As You Like It; not the clown), etc. 
"Tickle o' the sere " is a puzzle to the commentators; one ingenious 
explanation is that the "sere," ox sear, is a part of a gun lock, which, if 
worn, makes the gun go off easily; hence the expression means, — those 
who laugh with but slight reason. " The lady, etc.,'' is perhaps a hit at 
the talkativeness of women; Hamlet says the woman of the piece shall 
talk all she wishes, even though she spoil the meter. 

333. "Their residence," their remaining in the city. Here, as fre- 
quently in the plays, Shakespeare alludes to the customs and events of 
his own country; the city meant is therefore London. 

335. "Inhibition," prohibition. The allusion is to the history of 
the drama in London in Shakespeare's time, though its meaning is not . 
wholly clear. One explanation is that reference is made to the closing by 
law of all theaters except the Globe and the Fortune, in 1600 and 1601, 
because the actors indulged in personal abuse of public persons; on this 
account many players traveled in the country. Another explanation is 
that the actors took to the road because they were crowded out of the 
practice of their profession in the city by the Children of the Queen's 
Revels, to whom a license was given, in 1603-4, to play at the Black- 
friars Theater and other places. The note explains " innovation " also. 

337. "Estimation" is explained by " are they so- followed ? " 

342. "Aery," a brood of young hawks; "eyases," the same — 
nestlings. 

343. "Cry out on the top of question." A variety of ingenious 
explanations is given; allusion is probably made to the high-pitched 
voices of the children. "Tyrannically clapped," noisily applauded; 
the part of the tyrant in the old plays having been a noisy one. 

345. "Stages," probably stagers, actors. 



ACT IL SCENE II. 1 75 

346. "Rapiers . . . goosequills. " Allusion is here made to 
the professional writers of plays, mature men, and therefore wearers of 
rapiers, and to the children, whose weapons, if they had any, could be 
no more terrible than goosequills. 

349. " Escoted," paid. " Will they pursue, etc.;'''' will they pursue 
the vocation of acting only until their voices change ? 

354. " Exclaim against, etc.,'''' to do that which will endanger their 
future success. 

356. " To tarre, " to set on; used especially in reference to dogs. 

358. "Argument," the plot of a play. The meaning of the sen- 
tence is not clear; perhaps it means that whenever a stage director con- 
tracted for a new play, the poet and the actors quarreled, the poet 
insisting that it should suit the taste of the time; that is, that it should 
be written for the children-players; the actors insisting that this kind of 
plays was ruinous both to themselves and the drama. 

361. "Throwing about of brains," ingenious argument. 

363. What is the antecedent of "it " ? 

364. " Hercules, etc.^' The sign of the Globe Theater was Hercules 
with the world on his shoulders. The idea probably is that the children 
drew away the audiences from Shakespeare's own playhouse. 

367. "Mows," mouths, grimaces. 

369. "In little," in miniature; " 'Splood," God's blood — an oath. 

374. "Appurtenance," proper accompaniment. 

375. "Comply with," embrace; entertain. 

376. " Extent," that is, extent of courtesy. 

382. "I am but mad north-north-west, etc.'''' Much has been written 
on this speech, but nothing conclusively. "To know a hawk from a 
hernshew (heron) " is said to be the original form of the proverb. There 
is a tool called a hawk; and the corrupted form as it appears in the text, 
therefore makes sense; but it is probable that the original meaning of the 
saying is the true one. Furness gives Mr. J. C. Heath's explanation, 
which is, — "The expression obviously refers to the sport of hawking. 
Most birds, especially one of heavy flight like the heron, when roused 
by the falconer or his dog, would fly down or with the wind, in order to 
escape. When the wind is from the north, the heron flies toward the 
south, and the spectator may be dazzled by the sun, and be unable to 
distinguish the hawk from the heron. On the other hand, when the 
wind is southerly, the heron flies toward the north, and it and the pursu- 
ing hawk are clearly seen by the sportsman, who then has his back to 
the sun, and without difficulty knows the hawk from the hernshew. A 
curious reader may further observe that a wind from the precise point 
north-north-west would be in the eye of the sun at half-past ten in the 
forenoon, a likely time for hawking, whereas ' southerly ' includes a wider 
range of wind for a good view." 

397. "Buz, buz!" an exclamation of contempt; probably an equiv- 
alent to the modern slang word, "chestnuts." 

399. "Then came, etc.,'''' a line of an old song, it is conjectured. 

403. A "scene individable " is a drama in which the Unity of Place 



176 NOTES AND QUESTIONS. 

is observed; a "poem unlimited" is a drama in which there are 
frequent changes of scene, as in this play. In the next line is allusion 
to the same subject, "law of writ " referring to the observance of the 
dramatic rules, "liberty " referring to the disregard of the same. 

407. The allusion is to an old ballad which Percy gives in his 
Reliques, with the comment, — "It was retrieved from utter obhvion 
by a lady, who wrote it down from memory as she had formerly heard 
it sung by her father." The first stanza is as follows : — 

" Have y 021 not heard these many years ago, 
Jeptha was Judge of Israel ? 
He had one daughter and no mo. 
The which he loved passing well : 
And, as by lott, 
God wot. 
It so came to pass. 
As Gods will was. 
That great wars there should be. 
And none should be chosen chief but //^." 

417, 420, 422. These lines are explained by the preceding note. 

423. " Row," line; probably stanza, here; " chanson, " ballad. 

424. "Abridgement," those who will abridge, or shorten, my talk. 
There may also be a play on the word abridgement, which was a 
dramatic performance. 

427. "Valanced," having a fringe, or beard: the valance was the 
fringe on the tester of a bed. 

429. "Young lady and mistress," addressed to the boy who took 
female parts in the plays. 

431. " Chopine, " a high cork shoe. 

432. " Uncurrent gold, ^/r. " Furness quotes Douce: "There was 
a ring on the coin, within which the sovereign's head was placed; if 
the crack extended from the edge beyond this ring, the coin was ren- 
dered unfit for currency." 

434. " Like French falconers, etc.; " the passage is supposed to be 
a contemptuous reference to French sportsmen, who are said to be con- 
tent with small game. 

441. " Caviare to the general;" caviare is the pickled roe of the 
sturgeon, but it was a rarity in Shakespeare's time, and not in demand 
by " the general " — the common people. 

442. " Cried in the top of mine," were better than mine. 



444 
445 
448 
449 
450 



"Modesty," moderation, restraint. 
" Sallets," salads; that is, there was nothing high-flown in it. 
"Affection," affectation, 

"Handsome" means natural beauty; "fine," artistic beauty. 
'Twas Aeneas' tale to Dido." There has been much spec- 



ulation as to whether Shakespeare took the tale of Pyrrhus, as here set 



ACT II. SCENE II. 



177 



down, from some other author, from some unpublished work of his 
own, or whether he wrote it especially for " Hamlet." The third 
supposition is probably the true one. 

455. " Hyrcanian beast," the tiger. 

459. What word in the line is especially well used ? 

461. " Heraldry," color. 

462. "Gules," a term in heraldry, meaning red; "trick'd," a term 
in heraldry, meaning drawn, as opposed to blazoned, described. 

467. " O'er-sized," as paper is sized — covered with a thin layer of 
glue. 

478. "But," merely. 

486. " Neutral to his will and matter," indifferent to him and to the 
matter upon which he has been working his vengeance. 

489. "Rack," mass of clouds. 

495. " Proof eterne," eternal power of resistance. 

5CXJ. " Fellies," the pieces of wood composing the rim of a wheel. 

506. "Mobled," veiled, or muffled. 

510. "Bisson rheum," blinding tears. 

521. " Milch," milk-giving; hence, moist. 

522. "Passion," compassion, sorrow. 

527. "Bestowed," lodged. 

528. "The abstract and brief chronicles," those who reflect the 
times, as the newspapers do to-day; and it is true that you would better 
have a bad epitaph than their ill report. 

533. " Bodykins," diminutive of body. 



•557 
559 
560 

565 
568, 

572 

573 



"Conceit," imagination. 
Scan. " Aspect," is accented on the final syllable. 
" Function," action. 

" Cue," a well known stage word; explain its meaning here. 
"Free," innocent. 
" Peak," to mope. 
" John-a-dreams," John of dreams; a nickname for any silly 



dreaming fellow. " Unpregnant, " not fired by. 

576. " Defeat," destruction. 

583, 584. " Pigeon-liver'd," cowardly; gall, which pigeons were sup- 
posed to lack, was supposed to be the cause of courage. Hamlet says 
he lacks the courage to feel the bitterness of oppression. 

585 . The kite is a bird that feeds on dead bodies, as those that hung 
on gibbets. 

587. " Kindless," unnatural; without the feeling of his kind. 

594. "About, my brain." Hamlet addresses his own mind, com- 
manding it to set to work. 

597. "Presently," immediately. 

"603. "Tent," probe; "blench," flinch. 

610. "Relative;" the word has the force of reliable. Hamlet 
means that he does not want to take the king's life merely on the testi- 
mony of a spirit which may have been the devil in the guise of the 
dead king. 



178 NOTES AND QUESTIONS. 

Questions on the Scene. I. Is Polonius's theory of the cause of 
Hamlet's madness necessary to the story ? 2. Has Hamlet's resolve to 
have a play enacted before the king a necessary bearing on the story ? 

3. Is the scene, as a whole, one of primary or of secondary importance? 

4. Shovir from a line between lines 50 and 60 that Polonius has an eye 
to dramatic effect. 5. Polonius's speech beginning in line 43 may 
properly be accompanied with much deliberate bobbing of the head, with 
the half -closing of one eye, and at the end, with the pursing of the lips; 
what quality of his is thus represented? 6, As Polonius pronounces line 
85 (the second part), he gathers himself up for a great speech: can you 
fancy his manner — tone, speed of words, expression, attitude? 7. As 
he pronounces the speech, the queen shifts uneasily in her seat and 
glances fitfully at the king ; why? 8. In the same speech and the next 
one of Polonius, show his love for the dramatic. 9. Find a line which 
expresses Polonius's irritation because his dramatic recital is not appre- 
ciated. 10. When Polonius says to Hamlet, "Do you know me, my 
lord ?" his manner has the kind solicitude of one speaking to a child 
or a person hopelessly demented; Hamlet, perhaps, looks at him a mo- 
ment, as if trying to recall his face, and then says, quickly, as if he has 
suddenly remembered who the old man is, "Excellent well, etc.,''^ 
(line 175); is this the action of an insane man, of one who pretends 
insanity, or neither? Ii. As Kemble read the words, " Slanders, sir" 
(line 198), he tore the leaf out of the book; why? 12. What change in 
Hamlet's manner when Polonius leaves? (line 221). 13. At the words, 
* ' You go to seek, etc. ' ' (line 222), the Polonius of Mr. Sothern's company 
made significant gestures about his head, looked at Hamlet and then 
pottered away? what did the action mean? 14. Where does Hamlet 
first show suspicion of his friends, Rosencrantz and Guildenstern? 15. 
The first part of line 293. is marked as an "aside," but some critics 
think it should not be ; what do you think? 16. At the words, "for 
my uncle is king of Denmark, etc." (line 266), one actor takes up a 
locket that hangs from the neck of one of his friends, and looks at the 
king's picture therein; in a moment he casts it from him with disgust ; 
explain the reason and also the connection with the conversation 
immediately preceding. 17. What is the relative position of Hamlet 
and his two friends at the words, " at each ear a hearer " (line 386) ? 
18. Explain the sudden change of subject in the words, " You say 
right, sir, " and show what the actor must do to express it. 19. How 
does Hamlet's manner change after the re-entrance of Polonius ? Why? 
20. The short speech of Polonius, in line 408, is intended to please 
Hamlet, but it only bores him ; his shrug and his weary look are pretty 
sure to make the audience laugh ; is there any reason, from the stand- 
point of dramatic effect, why a laugh should come just here? 21. Con- 
sider lines 503 and 508, and explain where the laugh comes in. 22. In 
line 523 does Polonius say that it is Hamlet or the actor who has tears 
in his eyes? Perhaps the answer to the question may be learned from 
lines later in the scene. 23. Hamlet's manner changes again when 
he is alone ; in which of his words, as seen in this scene, is he sincerely 



ACT in. SCENE I. 179 

himself ? 24. In reading lines 609-10, Irving takes out his tables, and 
taps them with his finger; why? 25. What characters in the scene 
show a disposition to accomplish their ends by trickery? 26. Explain 
in detail why each of the speeches of Polonius is comedy. 27. What 
phase of his character is shown in the words, "have while she is 
mine" (line 106)? 28. Show all evidences of Hamlet's "antic dis- 
position." 29. Do his periods of "madness " come and go as he wills 
them, or otherwise ? 30. Do you detect the "method" in his mad- 
ness ? 31. What is his manner toward people whom he does not like ? 
32. Show two elements of Hamlet's character in the speech beginning 
in line 533. 33. In the final soliloquy, what contract does Hamlet draw 
between himself and the player ? 34. What reason does Hamlet first 
give himself for not carrying out his revenge? 35. Is his second reason, 
namely, that the spirit he saw may have been the devil, a good reason, 
or merely an excuse ? 36. If the latter, then what was the real reason ? 
37. Could his delay be due to insanity or to any mental defect ? 38. 
Most actors read the last two lines of the scene as if the giving of the 
play were first thought of just at that moment ; Irving reads them as if 
they were a culmination of a line of thought ; which way is right ? 
What word would he emphasize most? 39. There is at least one passage 
of sublime poetry in the scene ; where ? 40. What is significant about 
its form? 41. Pope and other Shakespearean critics have thought 
" Aeneas' tale to Dido " was intended to be highly bombastic, and 
was meant to be laughed at ; other critics think quite the reverse ; 
what is your view ? Is it a hollow piece of rhetoric, or a fragment 
of a spirited epic ? 42. At least one critic thinks that the exclama- 
tion, "hum," in line 594, does not properly belong there; explain 
why. (Consider lines 545, 609, and 610.) 

Questions on the Aci. i. What step of the story is revealed in the 
act ? 2. As at the end of the first act, explain Hamlet's own point of 
view of the situation in which he finds himself. 3. How does the 
dramatist bind the interest of the audience over to the next act ? 4. 
Which predominates in the act — events of the mind or events of the 
body ? In other words, is there more thinking, or doing ? 

ACT III. 
Scene I. 

Suggestion of Scene. — The same as Act I, Scene II. 
I. "Drift of circumstance," roundabout method. 
7. " Forward," inclined. 

12. "Forcing of his disposition," compelling himself to be amiable. 

13. "Niggard of question," reluctant to begin discussion. 

14. "Assay," try; that is, tempt. 

17. "O'er-raught," the old past tense of overreached; that is, 
overtook. 



1 80 ^0 TES AAD Q UESTIONS. 

26. "Edge," incitement. 
29. " Closely," secretly. 

31. " Affront, " meet. 

32. Scan. 

44. "Book." What is there in this speech and in the end of 
Hamlet's soliloquy to indicate what book it was ? In Mr. Sothern's 
presentation, Polonius took up a little book that hung by a chain from 
Ophelia's girdle, and put it into her hand. 

45. "Color," give excuse for, explain. 

47. "Much," in the sense of often. "That with, etc.,'' to the end 
of the speech is a strangely mixed metaphor, yet the meaning is clear ; 
explain. 

52. "To," compared to. 

53. " Painted," false. 

56. Let us suppose that before Hamlet enters, the King and Polo- 
nius have ascended the stair to the left, and " bestowed " themselves 
behind the curtains of the balcony at the back of the stage; occasionally 
they peep out. Ophelia kneels near the throne, and is apparently en- 
gaged in prayer. Hamlet enters looking steadfastly at the floor, and 
thus does not see her, but sinks down into the great chair at the left, 
and recites his soliloquy. 

59. This line has been much discussed. One does not take up arms 
against a sea. Pope suggested that siege might have been meant, as it 
completes the figure begun in "slings" and "arrows." However, 
Shakespeare often combines metaphors as he has done here, and does it 
effectively. May we not coin the expression, double metaphor, to offset 
the disparaging expression, "mixed metaphor"? Consider whether 
lines 47-49 contain a double or a mixed metaphor. 

65. "Rub," a figure from the game of bowls; it meant that the 
ball was impeded by striking something in its course. 

67. " Coil," turmoil. 

68, "Give us pause," cause us to pause, to meditate; "respect," 
consideration, reason. 

70. "Does " time " mean time in the abstract, or the titnes ? 

75. " Quietus" is the legal term for the final settling of an account. 
What does it mean here ? 

76. " Bare bodkrn," a mere dagger, perhaps an unsheathed dagger; 
"fardels," burdens. 

77. Dr. Johnson objected to a certain word in this line; what one? 
Is the word well selected ? 

79. "Bourn," boundary. Has not one of the characters in the play 
returned from that "bourn"? Can you explain away the apparent 
inconsistency ? 

84. What is " the native hue of resolution " ? 

86. "Pitch" is said to refer to the summit of the falcon's flight. 
Do you detect a change of figure in this and the next line ? Is the 
metaphor mixed or double ? 

103. "Honest," virtuous. 



ACT III. SCENE I. l8i 

107. Hamlet means that a beautiful woman may so take flattery to 
heart that her good character may suffer thereby. 

109. Does Ophelia use the words, " beauty " and " honesty," in the 
same sense as Hamlet uses them ? " Commerce," conversation. 

114. " Sometime," formerly. 

119. " It," that is, " old stock." 

126. " Beck," ready to be beckoned to me. 

145. "Paintings." Does Hamlet mean Ophelia ? If not, whom? 

147. "Jig" and "amble" refer to affected modes of walking. 

148. " Nick-name " was formerly " an eke-name," " eke " meaning 
additional. 

148. " Make your wantonness your ignorance," attribute your wick- 
edness to your ignorance. 

152. To whom does " all but one" refer ? 

163. " Blown," full-blown. 

164. " Ecstasy," madness. 

166. " Affections," the things that affect him. 

169. "On brood," brooding. 

170. '? Disclose," the first chipping of the shell by the young birds. 
172. Scan. 

187. " Round," direct. 

189. "Find," discover his secret. 

Questions on the Scene, i. What new complication in the lives of 
Hamlet and Ophelia does the scene reveal ? 2. Is this addition to the 
story of primary or only of secondary importance ? 3. Show that ideas 
set forth in preceding scenes are strengthened and elaborated here. 4. 
Show that the dramatic effect of the scene is heightened by the fact that 
two of the principal characters are hidden. 5. Some actors in reciting 
the famous soliloquy (line 56) give it in a loud voice, and accompany it 
by violent action ; show this to be bad taste. 6. At the words, "Ay, 
there's the rub," there should be a marked change of manner and 
expression ; what and why ? 7. Although there is no stage direction to 
warrant it, all actors, at some place in the scene, have Hamlet discover 
the King and Polonius in their hiding place; one method is this, — 
when Ophelia gives Hamlet back his gifts, the inquisitive, meddlesome 
Polonius, in his anxiety to see what happens, drops his long cham- 
berlain's staff, which falls with a clatter upon the floor ; and Hamlet 
knows that he is watched. Is this a good method of revealing to 
Hamlet the fact that he is spied \ipon ? and is this the proper place for 
such a revelation ? 8. Would the discovery on Hamlet's part account 
for his question, "Are you honest"? (line 103.) If not, what does 
account for it ? 9. In the questions Hamlet puts to Ophelia at this 
point, is he grave, airy, satiric, angry, wild, or hysterical ? If not one — 
or more — of these, then what ? 10. When Hamlet says, "but now the 
time gives it proof " (line 1 14), would it be suitable for the actor to look 
over his shoulder at the trembling curtain in the balcony ? II. The 
speeches in which Hamlet tells Ophelia to go to a nunnery, are usually 
read wildly, violently; a critic has suggested that they should be read 



1 8 2 NO TES AND Q UESTIONS. 

with the softness of tenderest indulgence for the frailty of Ophelia. 
Which is the better way ? 12. Which manner comports better with the 
following words of Hamlet? — " Let the doors be shut, f/r." (line 133), 
"Marry a fool, for wise men, etc.'''' (line 141), "You jig, you lisp, etc.''^ 
(line 147). 13. Do the words, "Where's your father?" (line 131) 
indicate the proper place for Hamlet's discovery of the two men in 
hiding? 14. Booth's manner at this point was this: — Approaching 
the kneeling Ophelia from behind, he took her head between his hands 
and turned it back until he could look straight into her face, and said, 
"Where's your father?" When Ophelia, replied, "At home, my 
lord," he plucked away his hands with the utmost grief and horror at 
the detestable lie, madly uttered his next short speech, and rushed 
away only to return in a few seconds to tell her again to go to a nunnery. 
A critic has suggested this : — Hamlet, having discovered the "lawful 
espials," and not wishing to accuse Ophelia of complicity, holds out his 
hand toward her ; she, thinking his cruel mood has passed, and believing 
he wants to take her to his arms, forgets that she is an accomplice to 
her father and the king, and runs toward Hamlet with a joyful little 
cry; but he checks her with a gesture, and asks, "Where's your 
father?" With an involuntary glance at the gallery, she replies, "At 
home, my lord." Then the outraged lover pours forth his rage in tor- 
rents. Can you choose between these two ways of playing this part of 
the scene ? 15. What is a suitable action for Hamlet when he says, 
"All but one?" 16. What further craftiness of certain characters 
does the scene reveal? 17. Lines 46 and 49 inclusive sound more like 
the keen observation of another character in the play than Polonius ; 
who? 18. In commenting on the solil(^quy of Hamlet, Dr. Johnson 
wrote, "Hamlet, knowing himself injured in the most enormous and 
atrocious degree, and seeing no means of redress but such as must 
expose him to the extremity of hazard, meditates on his situation in this 
manner : ' Before I can form any rational scheme of action under this 
pressure of distress, it is necessary to decide whether, after our present 
state, we are to be, or not to be.' " Malone wrote, " Dr. Johnson's 
explication of the first five lines of this passage is surely wrong. 
Hamlet is not deliberating whether after our present state we are to 
exist or not, but whether he should continue to live, or put an end to his 
life." Choose between these two interpretations. 19. What are the 
arguments pro and con that Hamlet uses in the soliloquy ? 20. Is it not 
in keeping with Hamlet's character to mean something other than the 
gifts which Ophelia holds in her hand, when he says, " I never gave you 
aught " (line 96)? 21. Does Hamlet show any evidence of real or 
assumed madness in the scene ? 22. May he be afflicted with spasms 
of incipient madness? 23. Just where is the boundary line between 
madness and sanity ? 24. Is Ophelia excusable for lying to Hamlet ? 

25. What evidence in the scene that the king has excellent judgment ? 

26. What evidence that he is a man of decision ? 27. Does it not 
appear, as the play progresses, that the king is one whose character has 
" taken corruption " from "some vicious mole of nature " ? 28. Where, 



ACT III. SCENE IL 183 

near the end of the scene, does Polonius again fall into his accustomed 
unconscious comedy ? 29. Do you suppose that at this time his mind 
reverts to " a farm and carters " ? 30. Point out the best poetry and 
philosophy in the scene. 31. Show that at the end of the scene the 
poet binds the interest over three scenes. 

Scene II. 

Suggestion of Scene. The same as the preceding and Scene II of Act 
I. The great chair at the left is drawn farther back; and the double 
curtained door under the balcony, together with the hallway beyond, 
which, it will be remembered, is higher than the level of the stage, 
forms^ secondary stage, where the players are to present the play in 
which Hamlet has inserted "some dozen or sixteen lines." When the 
scene begins, the curtains are pulled together, concealing the hallway, 
and they remain so until "the dumb-show enters." The king, the 
queen, and court enter through the door at the left; the royal pair 
taking the throne at the right, and Ophelia the great chair. Polonius 
stands just beyond the throne, and beyond him, making a diagonal line 
to the secondary stage, Rosencrantz, Guildenstern, and other lords and 
ladies of the court. Behind Ophelia, stands Horatio; at her feet, on the 
floor, reclines Hamlet, supporting himself on his right elbow; in his hand 
he has Ophelia's great fan of peacock feathers, with which he idly 
toys, and which he occasionally peeks through to note whether the play 
"catches the conscience of the king." The central space is clear, so 
that the audience may see everything that goes on on both stages. 

2. What word in the line is especially well selected i 

10. Periwigs were worn only by actors in Shakespeare's times. 

11. " Groundlings," those who stood on the ground before the stage 
in the early theaters; this part of the theater had neither floor nor seats. 

13. "Dumb-shows," pantomimes that in Shakespeare's time were 
used to represent scenes that would be too long if spoken. It appears, 
too, that in Denmark, a dumb-show preceded the enacting of the play. 
See the dumb-show in this scene. 

14. "Termagant," a Saracen deity, of violent character, often pre- 
sented in the miracle plays of the middle ages. Herod also was a vio- 
lent character in these old religious dramas. 

21. " From," contrary to. 

25. "Pressure," impression, as of a seal. 

26. "Come tardy oft," come short of. 
28. " Censure, " judgment. 

34. "Journeymen," workmen between the apprentice and the mas- 
ter workman, usually employed by the day. 

40. In Shakespeare's time the clowns often interrupted the play and 
engaged in wit combats with persons in the audience. 

42. "Barren," empty headed. 

55. "Coped withal," encountered. 

58. Scan. 



l84 ■ NOTES AND QUESTIONS. 

6i. "Candied," sugared, flattering. 

62. " Pregnant hinges of the knee," the bowing and bending before 
a lord that brings rewards from him. 

70. "Blood and judgement," passion and reason. 

80. "Comment of thy soul," with all the powers of thy mind. 

81. "Occulted," hidden. 

82. " One speech;" what one does Hamlet mean ? 

83. *.' Damned ghost," one from the lower regions, and not to be 
believed. 

85. "Stithy," smithy. 

88. " In censure of his seeming," in judgment of his behavior. 

89, 90. The meaning is, — If he shows any signs of guilt which I do 
not detect, I am willing to bear the responsibility of my failure. 

91. "Idle" is understood by the critics to mean lightheaded, foolish, 
mad; and the actors usually interpret the word the same way. 

93, 94. What play on words in these two lines? The same play 
may be made in German and in Latin. The chameleon was supposed 
to feed on air. 

105. " Capitol." See " Suggestion of Scene " of Act III, Scene I, of 
Julius Ci«SAR, of this series. 

116. "Jig-maker," a maker of ballads. 

118. "Within's," within these. 

122. "Suit of sables." There is much doubt as to this passage, 
and there has been much discussion about it. The best explanation 
seems to be that the furs called sables are the finery of the northern 
nations; Hamlet means, then, that he will clothe himself gayly, leaving 
" blacks" for the devil. 

126. " Not thinking on," being forgotten. 

127. " O, the hobby-horse is forgot," probably a line from a ballad 
of Shakespeare's time, alluding to the opposition of the Puritans to the 
morris-dances, in which was a figure called the hobby-horse. 

130. " Miching mallecho," sneaking mischief; "mallecho" is of 
Spanish origin. 

132. "Belike," perhaps; "argument," plot. 

139. " Posy," a short verse or motto, such as was often engraved in 
a ring. Hamlet refers to the brevity of the Prologue; then what is the 
emphatic word in Ophelia's reply? 

142. " Phoebus' cart," the chariot of Phoebus, the sun. 

143. "Wash," the sea; " Tellus, " the earth. 

144. What word in the line is especially forcible? 

146. " Hymen," in Greek mythology, the god of marriage. 

147. "Commutual," an intensified form of mutual. 

152. " I distrust you," am distrustful, solicitous, about you. 
154, 155. The lines probably mean, — -Woman's love and fear vary in 
the same manner; they are either nothing or everything. 
161. "Operant," active; "leave," cease. 

169. " Instances," motives. 

170. "Respects," considerations. How should "love" be pro- 
nounced in this fine? 



ACT lit. SCENE II. 185 

173. How is "speak " to be pronounced? Consider that the Irish 
pronounce many words as they were pronounced in Shakespeare's time. 

176. " Validity, " strength, vigor. 

180. "What to ourselves is debt," what we owe only to ourselves 
to do. 

184. " Enactures, " resolutions. 

196. "Seasons," makes ; though the figure is not retained. "Rip- 
ens," " matures," "throws in an ingredient, which constitutes, etc.,'" 
have been suggested. 

198. Scan. 

206. "An anchor's cheer," an anchorite's fare. 

207. "Opposite," opponent, obstacle to joy; "blanks," blanches, 
makes pale. 

217. Explain the line. 

224. " The mouse-trap " — because it is to "catch the conscience 
of the king;" "tropically," figuratively. 

228, 229. "Free," innocent. " Let the galled jade wince," a prov- 
erb. "Withers," the part of a horse between the shoulders. 

232. "Chorus;" several of Shakespeare's plays, as Henry V, had 
choruses, which explained the drama. 

233. "I could interpret, etc. ;^^ an allusion to the puppet shows, 
during the playing of which an interpreter sat on the stage and explained 
to the audience. 

239. Scan. 

240. " Confederate season," favorable opportunity. 

241. Scan. 

255. The stanza is probably from some old ballad which Hamlet 
thinks of in this moment of frenzy. 

259. "Feathers " were much worn by actors in Shakespeare's time. 

260. "Turn Turk; " as great a change as could be — from Christian 
to infidel. 

261. "Provincial roses, etc.;'''' actors wore in the shape of roses 
of Provins, or Provence, rosettes on their " razed," or slashed, shoes. 

262. " Cry," metaphor for company; alluding to a cry of hounds. 

263. "Share;" the actors in the dramatic companies were paid 
shares of the receipts, rather than salaries. 

268. " Pajock," peacock. 

275. " Recorders," a kind of musical instrument, like a flute. 

278. "Perdy," a corruption of par Dieu. 

285. "Distempered," disturbed. 

287. " Cholor," anger. 

290. " Purgation; " Hamlet used the word in two senses, the med- 
ical and the legal; the latter referring to the clearing of one's self from 
a crime. 

293. "Frame," form. 

301. " Pardon," permission to leave. 

305. "Wholesome," sound, sane. 

311. "Amazement, " disturbance of mind; " admiration," wonder. 

318. " Trade, " business. 



l86 NOTES AND QUESTIONS. 

320. " Pickers and stealers," hands; an allusion to the catechism, in 
which we are instructed to keep our hands from picking and stealing. 

327. "While the grass grows, the steed starves," is the full proverb. 

329. "To withdraw with you;" a passage not understood. Per- 
haps Hamlet speaks it to Guildenstern, who keeps following about; if 
so, he means, — Come to one side a moment. Then he adds, " Why do 
you, etc.?'^ "To recover the wind" is a hunting term, meaning to 
get to windward of the game, thus startle it and make it run in the 
direction of the toil. 

332. This speech is another puzzle. Probably the meaning is, — If I 
seem too bold, believe that my love for you makes me so. Clark and 
Wright wittily observe, " As Hamlet did not well understand them 
(Guildenstern's words), commentators may be excused from attempting 

explain them." 

341. " Ventages," holes of the flute. 

347. What are the emphatic pronouns in the speech beginning in 
this line ? 

355. "Fret;" a play on the word; explain. 

359. " Presently," immediately. 

368. " Bent; " see note on Act II, Scene II, line 30. 

379. Nero murdered his own mother. 

381. Notice the two words that are emphatic because they are 
contrasted. 

383. "Shent," rebuked. 

384. " To give them seals," to confirm by action. 

Questions on the Scene, i. Comparing this scene with all that have 
preceded, which contains the most intense climax? 2. Where is the 
climax in this scene, and what makes it a climax ? 3. Why does the 
poet begin so critical a scene with a conversation so tranquil and so 
unrelated to the main theme of the play ? 4. Why is the dramatic 
effect strengthened by the fact that Hamlet expresses his love and admi- 
ration for Horatio immediately before the players act their play ? 5. Is 
the dramatic effect heightened by the revelation that Hamlet has, since 
the ghost scene, revealed to Horatio all that the ghost told him (lines 
77, 78) ? 6. What effect on the dramatic situation has Hamlet's jesting 
with the king, Polonius and Ophelia just before the play begins ? 7. Is 
the dramatic effect strengthened by the acting of the "dumb-show" 
before the real play ? 8. If the dumb-show were omitted, what lines 
shortly after it would have to be omitted ? 9. If it be played, should 
the king and the queen be too much occupied chatting together to notice 
it, or should they look directly at it ? 10. Do you see any reason, deep- 
rooted in the character of Hamlet, why the scene should not end at the 
climax, rather than run on some time longer, as it does ? 11. In what 
manner should Hamlet pronounce his speeches to the players ? 12. Is 
there not a certain princely tact in Hamlet's casual words, " Will you 
two help to hasten them" (line 51)? 13. Describe a change in Hamlet's 
manner in line 75. 14. At the expression, " I must be idle " (line 91), 



ACT III. SCENE IL 187 

Macready was accustomed to skip about the stage like a foolish boy, 
twirling his handkerchief over his shoulder, while Irving became very 
light and gay. The American actor, Mr. Otis Skinner, in playing the 
part, lies down on the edge of the secondary stage (a platform at the 
right, in his presentation) rests his head on the pillow provided for the 
player king, and swings one leg to and fro over the side of the elevation, 
apparently as happy as a boy out in the fields for a holiday. Which 
makes the best effect ? 15. Note the " I-told-you-so " manner of Polo- 
nius when he says, " O, ho ! do you mark that ? " (Line 112.) 16. Should 
Hamlet's words to Ophelia just before the "dumb-show" enters, be 
heard by the king and the queen? 17. Note the hush of expectancy 
that falls upon the stage when the player king and the player queen 
begin their conversation. 18. What are the first lines of the players 
that "catch the conscience of the king?" Would his action include 
an alarmed glance at Hamlet, or would he avoid Hamlet's gaze ? 
19. The stage direction says the words, "Wormwood, wormwood" 
(line 168), are an "aside;" Fechter, and other actors after him, pro- 
nounced them to Horatio. Which is better ? 20. Describe the state 
of mind of the king and the queen, and their looks, when the player 
queen says, "Both here and hence, <?/f." (Lines 209, 210.) 21. Is 
Hamlet's speech, "If she should break it now," spoken in a loud, 
startling tone, alow, ominous tone, or — how? 22. Mr. Otis Skinner, I 
think, read the speech, "Madam, how like you this play?" (line 216) 
very abruptly. What was his purpose ? 23. Note Hamlet's irony in the 
speech, " O, but she'll keep her word " (line 218). 24. The king asks, 
" Is there no offence in't ? " (Line 219.) Had he not seen the " dumb- 
show ? " 25. Most actors pronounce the speech, " No, no, they do but 
jest, etc.''' (line 221), with a thinly veiled irony, or with an ominous 
significance; Irving, dryly, without the slightest warning of what is to 
come. Which is the better ? 26. Would Irving pronounce Hamlet's 
next speech in the same way ? 27. After the poison is poured into the 
sleeper's ear, the actor who plays Hamlet usually creeps or crawls 
across the floor, in the most intense excitement, explaining as he goes, 
" He poisons him i'n the garden, etc.'" (line 245). Some critics decry 
this piece of "stage business." Do you agree? 28. At the words, 
"What, frighted with false fire" (line 250), some Hamlets rush to 
the king, grasp him by the wrist, and thrust an accusing finger into his 
very face. 29. Sometimes the short speeches between the rising of the 
king and the cry for lights, are all distinctly heard; sometimes they are 
lost in the uproar. Which is better ? 30. When, in this scene. Booth 
found himself alone with Horatio, he would stagger toward his friend, 
fall on his neck with the "long, loud, mirthless laugh of a madman" 
(see FuRNESS), and when he lifted his face he seemed years older. 
Irving, when he played Hamlet, at this place would throw himself into 
the throne and rock to and fro in intense excitement as he recited the 
lines about the " stricken deer." Can you choose between the methods 
of these two excellent actors? 31. As Irving pronounced the word 
"pajock," he would throw away Ophelia's fan (see Suggestion of 



1 88 SCENES AND QUESTIONS. 

Scene); what is the point to this action? 32. At the word "belike" 
(Une 278), the actor may very properly stop abruptly, as if he has 
suddenly changed his mind about something; why ? 33. In what way 
does the manner of Hamlet change after the entrance of Rosencrantz 
and Guildenstern ? 34. In reading the words, "My wit's diseased" 
(line 305), Mr. Sothern tapped his forehead a bit angrily (his Hamlet 
was ever angry); then turning to Horatio, winked confidentially. Is the 
effect good ? 35. In addressing the words, " God bless you, sir " (line 
357), to Polonius, Booth showed an utter weariness of spirit; Mr. 
Sothern, anger. Which manner is more in accord with Hamlet's char- 
acter ? Note that the talk about the cloud, and the speech, "'By and 
by' is easily said," should be read in the same manner, with the addi- 
tion of contempt. 36. How does Hamlet's manner change when he 
finds himself alone ? 37. How much has the matter of self-control to 
do with the question of sanity ? 38. Does Hamlet lose his self-control 
in this scene ? 39 . Does the scene reveal any mental malady in Hamlet ? 
40. Compare Polonius's description of Hamlet's " declension into the 
madness wherein he now raves " (Act II, Scene II, lines 147-151) with 
what you know of his mental history, and determine how much of truth 
there was in the old counsellor's words. 41. Determine whether any 
of the following words describes Hamlet's mental condition : distem- 
pered, mad, frenzied, unbalanced, hysterical, abnormal, melancholy, 
distracted, frantic. 42. Whatever you determine his mental state is, 
how much of it is feigned ? 43. Under what circumstances and in 
whose presence does he act in an unusual manner ? 44. Does any 
unusual manner ever come upon him without his willing it ? If so, 
when ? 45. Does Hamlet ever encourage the court in the belief that he 
is insane ? 46. In lines 66 to 75, Hamlet praises Horatio for an 
excellent trait which a certain other character in the play does not 
possess; who is it ? 47. In his last speech in the scene, Hamlet says he 
could "drink hot blood," and could "do such bitter business as the 
day would quake to look on." Why doesn't he ? In other words, 
why, having proved the guilt of the king, does he not kill him ? 
48. Why are certain passages in the scene written in prose ? 49. Ex- 
plain the why and the wherefore of the comedy parts. 50. Why does 
Shakespeare so mingle comedy and tragedy ? 51. What is in the scene 
that shows Shakespeare's opinions concerning his own profession ? 

Scene III. 

Suggestion of Scene. Owing to the expense of setting so many 
scenes, actors are accustomed to combine as many as possible. As this 
scene is short, and as it does not require a new setting, we shall con- 
sider it a continuation of the preceding. 

II, "The single and peculiar life," the private individual. 

13. " Noyance," annoyance. 

15. "The cease of majesty;" the death of a king. 

17. " Massy," massive. 

29. " She'll tax him home," reprove him thoroughly. 



ACT III. SCENE IV. 1 89 

33. "Of vantage," from an advantageous position. 

37. Explain " primal eldest curse." 

39, 40, A doubtful sentence. Perhaps the meaning is, — Though my 
inclination (which is a matter of emotion) combines with my determi- 
nation (which is a matter of duty), to force me to pray, yet I cannot 
because of the overpowering sense of my guilt. 

41, 43. Do not these lines in some degree explain Hamlet's own 
tragedy? 

43-46. There is a common saying, " Shakespeare never repeats." 
Anyone who has read "Macbeth" will readily recognize a repeated 
idea there ("Hamlet " was written first). However, the saying prob- 
ably arose from the fact that Shakespeare never repeats a character. 

47. "To confront the visage of offence " is to resist sin. 

49. " To be forestalled " is to be held from yielding to sin. 

56. " The offence," the things gained by the offence. 

57, 58. Is this a double or a mixed metaphor? 

68. "Limed," caught with bird-lime. 

69. " Assay, " attempt. 

75. " That would be scann'd "; that manner of revenge should be 
carefully considered. 

79. " Hire and salary, " not the deed of an avenger, but that of a 
hired assassin. 

82. Had not the ghost told Hamlet how his "audit" stood? A 
critic suggests that the presence of the line indicates that Shakespeare 
drew the first sketch of the play without the ghost. This does not fol- 
low; Shakespeare was often careless about minor details. 

88. " Hent," a doubtful word; perhaps grip. 

95. "Stays," waits. 

96. The line means, — This delay of mine is a medicine that only pro- 
longs the life of the king. 

Questions on the Scene. I. What new events of the plot does the 
scene foreshadow? 2. How does the scene compare in dramatic force 
with the preceding one? 3. Is the first speech of the king a confession? 
4. What characteristic of Polonius is observed in line 30? 5. Give an 
abstract of the king's prayer. 6. Concerning Hamlet's long speech in 
this scene, Dr. Johnson said, " This speech, in which Hamlet, repre- 
sented as a virtuous character, is not content with taking blood for 
blood, but contrives damnation for the man that he would punish, is too 
horrible to be read or uttered." Hazlitt says, "This refinement of 
malice here expressed by Hamlet, is in truth only an excuse for his own 
want of resolution." (See Furness.) Which of these two men had 
the better understanding of the character of Hamlet? 

Scene IV. 

Suggestion of Scene. The queen's closet, or private apartment; a 
room hung about with arras, or curtains. At the left and back is a 
broad doorway, with parted curtains. At the back and right, a great 
wardrobe of carved wood, through whose half-open door may be seen 



190 NOTES AND QUESTIONS. 

masses of royal robes: On a table in the center, and over chairs about 
it, are shown a number of elaborate court dresses in attractive disorder. 
To the right is a recess in the wall; before it hangs the curtain behind 
which Polonius hides. At the right and front, an armchair. 

I. "Straight," immediately; "lay home," speak to him freely. 
4. "Sconce," hide. 

II. Where does the emphasis fall in this line? 

15. "Rood," cross. Note that the speech beginning in this line 
gives the keynote to the scene. 

24. "Rat." The rats, when they infested a castle, naturally ran 
along behind the arras; the word, by metaphor, means spy. 

26 and 32. These lines explain Hamlet's hasty thrust through the 
arras. 

35, 36. Another mingling of metaphors. 

38. " Sense," feeling. 

42. "Rose," a word much discussed; it probably stands for "the 
ornament, the grace, of an innocent love." (See Furness.) 

46. "Contraction," marriage contract. 

49. " Solidity and compound mass," the earth. 

50. "Tristful," sorrowful ; " doom," the day of doom. 

52. "Index," beginning. 

53. Actors differ here. Formerly, Hamlets took two miniatures 
from their pockets ; but it is plain that Hamlet would not carry his 
uncle's likeness about with him. In later presentations of the play, two 
protraits have been hung on the wall ; in others, a portrait of Claudius 
has been placed on the wall, and a miniature of the dead king on a 
chain about Hamlet's neck; in others, the queen has had on her chain a 
miniature of her husband, and Hamlet one of his father on his own ; 
finally, likenesses have been dispensed with altogether, and Hamlet 
has drawn the two " counterfeit presentments " to the " mind's eye." 

58. " Station," attitude. 

59. "Batten," fatten. 

69. "Hey-day," vigor of youth; the derivation of the word is 
uncertain. 

71, 72. "Sense," feeling; "motion," emotion. 

74. " Ecstasy, " madness. 

75. " Quantity, " portion. 

77. "Cozen'd," cheated; " hoodman-blind," blind-man's buff. 

81. " Mope, " be stupid . 

83. "Mutine," mutiny. 

90. " Grained," dyed in the grain. 

91. " Leave," give up; " tinct, " color, dye. 

95. Scan. "Vice of kings," a reference to the vice, or buffoon, 
in the old morality plays. 

96. "Cutpurse." Purses were usually carried hanging to the 
girdle ; hence a thief could easily cut the strap that held it. 

97. 98. Hamlet throws further contempt upon the king by saying he 
took the crown as a thief would. 



ACT III. SCENE IV. 



191 



99. '♦ Shreds and patches ; " referring to the dress of the old court 
jester. 

104. " Lapsed in time and passion ;" Hamlet refers to his delay of 
the revenge — a delay brought about by the decrease of his passion. 

105. " Important," urgent. 
107. Scan. 

109. " Amazement," disturbance of mind. 

III. " Conceit, " imagination. 

115. "Incorporal," incorporeal, unsubstantial. 

118. "Bedded," lying flat ; sleeping, like the soldiers in the preced- 
ing line. " Excrements," outgrowths, as nails and hair. 

119. " An end," on end. 

124. " Capable," that is, of feeling; perhaps of action. 

126. " Stern effects," stern actions. 

127. "Will want true color;" will not be done properly; perhaps 
Hamlet is thinking of "hire and salary." 

135. " Bodiless creation," habit of seeing spirits; "ecstasy, " mad- 
ness, as before. 

148. "Compost," a fertilizer for land. 

149. One critic regards " my virtue " a vocative. 

150. "Pursy," short-winded; closely connected in thought with 
"fatness." 

152. "Curb and woo," bow and beg. 

166. An imperfect line ; " master " is used in most editions. 

168. "Desirous to be blest," repentant. 

173. "Bestow," dispose of, take away. 

179. "Bloat," bloated. 

180. " Mouse," a term of endearment. 

181. "Reechy, " dirty, greasy. 

187. " Paddock," toad; "gib," cat. 

188. " Dear concernings," important matters. 

191. " The reference must be to some fable in which an ape opened 
a basket containing live birds, then crept into it himself, and ' to try 
conclusions,' whether he could fly like them, jumped out and broke his 
neck. No one has as yet found any such fable recorded elsewhere." 
Clark and Wright. 

192. "Conclusions," experiments. 

197. Is it recorded in the play how Hamlet learned that he was to 
be sent to England ? 

204. "Hoist," hoisted; "petar, " an engine of war used to break 
down gates. 

208. " Packing, " plotting. 

Questions on the Scene. I. How much opportunity does this scene, 
in comparison with others, afford the actors to display their powers? 
2. Does it help the story along? 3. As the scene was originally written, 
Hamlet reveals to his mother the guilt of the king, and thereafter she 
gives him secret aid; would it have been better to retain this circum- 
stance in the final version? 4. Does the scene afford necessary oppor- 



192 NOTES AND QUESTIONS. 



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tunity for further character development? If so, is this a sufficient 
excuse for its being? 5. What circumstance in the scene may be called 
the beginning of the end? 6. Early in the scene, the queen, who is 
sitting in the chair at the right of the stage, begins to rise; and 
Hamlet takes her by the wrist and thrusts her back: where should this 
occur? 7. Where is the first climax in the scene ? 8. Is Hamlet 
relieved or disappointed when he discovers that he has killed Polonius 
instead of the king? 9. Through much of the scene the queen rocks 
to and fro in her chair moaning and weeping; where should this 
action reach a climax? 10. One Hamlet, in reading the words, "Look 
here, upon this picture, and on this " (line 53), snatches the king's min- 
iature from the queen's neck and holds it up before her; would it not 
be effective for him to throw it away contemptuously a little later? 
Where? 11. It is an old piece of "stage business " for Hamlet, in his 
fright, to kick the chair over, as if by accident, when the ghost enters; 
is this in good taste? 12. Do you notice a marked change that comes 
over the spirit of the scene after the entrance of the ghost? 13. When 
Hamlet says, " Do you see nothing there? " (line 128) does the queen 
look where Hamlet points? If so, why can she not see the ghost? 14. 
When Hamlet says, "So again, good night " (Une 174), his mother, 
thinking his mood has softened, runs toward him with outstretched arms: 
but Hamlet checks her with a gesture; she weeps bitterly, and he 
adds, "I must be cruel, only to be kind: " what does he mean? 15. 
Show a fateful circumstance in the scene — one that thwarts Hamlet, 
and helps make his life more bitter and his death more sad. 16. What 
explanation does Hamlet make of his delay in the matter of carrying 
out his revenge? 17. What proofs does Hamlet offer to show that he is 
not mad? Are they good proofs? 18. Is his assertion that he is "mad 
in craft " (line 185) convincing proof that he is only acting madness? 

Questions on the Act. 1. What important step in the story, and what 
developments as to character are set forth in the act? 2. What is the 
most important scene? 3. It has been said that a skillful dramatist 
takes about two acts and a half to entangle his plot, and the rest of the 
play to untangle it ; are there any evidences thus far that this is the case 
in "Hamlet?" 4. Would it be more true to say that this play goes 
straight on to a final catastrophe? 5. Is there some truth in each state- 
ment as regards "Hamlet?" 

ACT IV. 

Scene I. 

Suggestion of Scene. There is no reason for frequent changes of scene 
in this act ; two, indeed, are enough ; the student may select from those 
already described, what one he considers most suitable; or perhaps he 
may like to devise one for himself. In either case the one scene may be 
continued throughout the act, with the exception of Scene IV. 

II. "Brainish," imaginary. 

17. " Providence," care. 



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